


Timeless Movie Redux

by RedGold



Category: Timeless (TV 2016)
Genre: Because Fuck It, But He Gets Better, But they come back, Causal Loops, Character Death, Don't underestimate Agent Christopher, Edit of the Timeless Movie, Emma is a Bad Ass Boss Queen, F/M, Fix Wyatt? Challenge Accepted, Fix-It, Flynn dies an honorable death, Flynn gets two (2) hugs, I am not responsible for your tears, I understand how time travel works, I work with what I have, I'm a Lorynn not a Garcy so don't @ me, Jessica Logan deserved better than what she got so here you go, Jiya basically has superpowers, Lucy is not a doormat, Mason is a proud Bunker Dad, None of us deserve the ship that is Rufus Carlin and Jiya Marri, Not a rewrite, Overwriting, PTSD, Screenplay/Script Format, Ship all the ships, Some admitted hand waving, They actually can't save everyone without Rufus, Timeless Movie Redux, Trying to Prove a Point, Wyatt gets called out for all his shit, adults having honest and reasonable discussions, and never let go, gratuitous messages of hope, it's Christmas, put hope in a box, trying to reclaim Timeless for ALL fans
Language: English
Status: Completed
Published: 2019-04-10
Updated: 2019-04-21
Packaged: 2020-01-07 15:30:11
Rating: Teen And Up Audiences
Warnings: Major Character Death
Chapters: 12
Words: 33,146
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/18413492
Author URL: https://archiveofourown.org/users/RedGold/pseuds/RedGold
Summary: An edited version of the Timeless Movie “The Miracle of Christmas” which retains the same format, same locations, and even most of the same scenes. But through edited dialogue and only two complete scene changes, the movie is turned into a complex, layered adventure, truly for all fans and all ships.





	1. Part 1 - Teaser

**Author's Note:**

> I have taken the entire movie and broken it down into its acts and further into its scenes. Some scenes will be nearly identical, with much of the original dialogue salvaged from writers Lauren Greer and Arika Lisanne Mittman (all rights reserved). Some scenes will physically be the same, but with all new dialogue. There are a couple of scenes that are missing and have been completely replaced.
> 
> The goal was to salvage as much as possible. To only make tweaks that would give the movie complexity and avoid making our OG heroes look like villains in the end. All time and resources with actors were accounted for and repurposed as needed. 
> 
> Because this is an edit and not a rewrite, Flynn will die (I bring him back), but it’s an honorable death (did I mention I bring him back). Lucy and Wyatt will end up together as I make a valiant attempt to salvage his character.
> 
> I will be posting a chapter every day, taking a one-day break between parts one and two (chapter’s six and seven). Think of a chapter break as a commercial break.
> 
> Disclaimer: My main ship is Lorynn (Flynn+Lorena) but I did have a Garcy consultant. I support all ships including Lyatt, Riya, Garcyatt, Flogan, WyJess, Jessima, Winyatt*, Macy, Lufus, Flufus, and Bunker Parents. 
> 
> *Don’t ask, save yourself.

Note: V.O. stands for voice over. Wherever you see this it means the words below it are being spoken but the audience is seeing the scene described. If there is no V.O. then we are seeing the original scene.

**PART 1 - TEASER**

****

INT – BOMB SHELTER – UNKNOWN LOCATION - NIGHT

Future Lucy is sitting at a desk in what might literally be a bombed-out bomb shelter. Future Lucy looks like she might have actually been to hell and back. She’s tired, she’s exhausted, she’s writing in the journal. She puts her pen down, rubs her face, and then starts again.

Dialogue in bold will always be voice over of scene of Future Lucy writing.

**FUTURE LUCY  
** There was a time when I had a  
mother I trusted, a sister I adored,  
and a life that was familiar, safe.  
(beat)  
It was all a lie. 

CUT TO: CLIPS FROM “PILOT”

CHRISTOPHER  
(V.O. Flynn stealing Mothership)  
Mr. Mason invented a time machine and  
chose not to tell the government about  
it until it was stolen by terrorists.  
(V.O. Flynn in the van)  
Garcia Flynn, ex-NSA asset  
in Eastern Europe.

MASON  
Our earliest prototype.  
We call this one the Lifeboat.

CHRISTOPHER  
There's room in there for  
three passengers.

LUCY  
(V.O. Team at the airfield)  
To do what?  
Go after him?

CHRISTOPHER  
(V.O. Lucy answering the door)  
Lucy Preston.  
History, anthropology.  
(V.O. Wyatt smirking at Lucy)  
Master Sergeant Wyatt Logan.

WYATT  
Delta Force.

RUFUS  
Rufus. I'm a pilot.  
You might want to hold on. 

CUT TO: FUTURE LUCY

**FUTURE LUCY  
I thought history was something  
worth protecting.**

CUT TO: CLIPS FROM “ASSASSINATION OF ABRAHAM LINCOLN”

LUCY  
The present isn’t perfect,  
but it’s ours.

LUCY  
(dialogue is from “Stranded” and V.O.  
is of the theater box scene)  
If this is my job now, protecting  
history, saving the things  
that are meant to be... 

CUT TO: CLIP FROM END OF “STRANDED” WHERE LUCY, RUFUS, AND WYATT ARE HAVING DRINKS

LUCY  
...how can I believe in fate and  
not believe in my own fate?

WYATT  
You made that choice, Lucy.

LUCY  
And that’s what history is.

WYATT  
Right? It’s choices. 

CUT TO: CLIP FROM “PILOT”

AMY  
Make your own future. 

CUT TO: FUTURE LUCY

**FUTURE LUCY  
The past is nothing but lies.**

CUT TO: CLIP FROM END OF “PILOT”

LUCY  
Where’s Amy?

CAROL  
Amy who? 

CUT TO: CLIPS FROM “ASSASSINATION OF ABRAHAM LINCOLN”

LUCY  
(V.O. Amy from “Pilot”)  
My sister's gone.  
Erased from history.

LUCY  
Carol's my mother, but  
Henry isn't my father.  
(V.O. Carol frustrated with Lucy)  
My mother's been lying  
to me my whole life.

LUCY  
(to Noah)  
Oh, hello…

CUT TO: FUTURE LUCY

**FUTURE LUCY  
The past is nothing but pain.**

CUT TO: CLIP FROM “WATERGATE TAPE”

FLYNN  
We call them silencers, but  
they're not that silent.  
(V.O. Flynn at Lorena and Iris’s grave)  
Not when it's two  
shots murdering your family. 

CUT TO: CLIP FROM “PILOT”

LUCY  
I didn't know you  
were married.

WYATT  
(V.O. wall of news clippings  
from “Watergate”)  
Jessica died.  
It was my fault.  
(back to “Pilot” scene)  
If I could just change that one…

CUT TO: CLIP FROM “DAY REAGAN WAS SHOT”

FLYNN  
(V.O. Iris from “Red Scare”)  
Do you know what I would give  
if I’d had those three more  
minutes with her,  
(back to “Reagan”)  
one more minute,  
one more second? 

CUT TO: CLIP FROM “ALAMO”

WYATT  
(V.O. of flashback scene in “Alamo”)  
Six men held off a hundred  
fighters, so I could escape.  
(back to “Alamo” scene)  
I left them there to die, and they  
gave me a medal for it. 

CUT TO: CLIP FROM “SPACE RACE”

FLYNN  
(to Maria)  
Every memory I have of you,  
you were always so sad. 

CUT TO: CLIPS FROM “DAY REAGAN WAS SHOT”

FLYNN  
(V.O. Flynn struggling to  
kill John in “Arnold”)  
The only thing keeping me from killing  
myself was the idea of stopping these  
beasts who had done this thing. 

(back to “Reagan”)  
I ended up in a bar, in  
São Paulo, Brasil.

LUCY  
(to Young Christopher)  
Every day, we make decisions.  
They seem like they don’t matter,  
but they do.

FLYNN  
(V.O. Flynn and Lucy at wreckage in “Pilot”)  
I was on my third drink  
when you walked in.  
(V.O. Lucy stopping Flynn in “Red Scare”)  
You told me there is a way  
for me to stop them,  
(V.O. Flynn hands Lucy the  
journal in “Red Scare”)  
and that's when you handed  
me the journal.  
(back to “Reagan”)  
Lucy, you started all of it. 

CUT TO: FUTURE LUCY

**FUTURE LUCY  
** [sardonic laugh]  
The past is the gift that  
keeps on giving. 

CUT TO: CLIP FROM “PILOT”

FLYNN  
Ask them why they really chose  
you for this mission.  
(V.O. David Rittenhouse in “Arnold”)  
Ask them what Rittenhouse is. 

CUT TO: CLIP FROM “LOST GENERATION”

RUFUS  
(V.O. Cahill at door in “KARMA”)  
Scary Rittenhouse dude  
is your father? 

CUT TO: CLIP FROM “KARMA CHAMELEON”

CAHILL  
Well, I've got news for you,  
my dear, you're a part of it, too.  
(V.O. Nicholas’ Mural in “Darlington”)  
It's your legacy. 

CUT TO: CLIP FROM “WAR TO END ALL WARS” DELETED SCENE

CAROL  
You and I are among the  
last remaining…  
(V.O. Nicholas waking up in 2018)  
…decedents of  
David Rittenhouse himself. 

CUT TO: CLIP FROM “LOST GENERATION”

CAHILL  
Rittenhouse isn’t a choice.  
It’s blood. 

CUT TO: CLIP FROM “HOLLYWOODLAND”

WYATT  
(V.O. Wyatt and Lucy kissing)  
After Jessica died, I sort  
of stopped caring, you know.  
(V.O. of them waking up in bed)  
But not anymore. 

CUT TO: CLIP FROM “SALEM WITCH HUNT”

WYATT  
(V.O. Wyatt seeing Jess at bar)  
You had been murdered.

JESS  
In your reality.

WYATT  
I identified your body, Jess. 

CUT TO: CLIP FROM “THE DAY REAGAN WAS SHOT”

JIYA  
We could have told  
her everything.

LUCY  
(V.O. showing Christopher her future)  
Knowing the future  
is a huge responsibility.  
(back to “Reagan”)  
I wouldn’t wish it on anyone. 

CUT TO: FUTURE LUCY

**FUTURE LUCY  
As for the present?  
Every win was a failure.**

CUT TO: CLIPS FROM “RED SCARE”

FLYNN  
I trusted you, Lucy!  
I trusted you with my family!

CAROL  
(V.O. Emma stealing the Mothership)  
Rittenhouse has an operative  
on the Mothership. 

CUT TO: CLIP FROM “WAR TO END ALL WARS”

EMMA  
I’ve always been loyal to  
Rittenhouse, from the start.  
(V.O. Emma at cabin in “Jesse James”)  
Some of us had to work  
our way up. 

CUT TO: CLIP FROM “KING OF THE DELTA BLUES”

RUFUS  
(V.O. of Jiya having a vision)  
You're gonna tell me you had one  
of those creepy visions again,  
aren't you?

JIYA  
Premonitions. 

CUT TO: CLIP FROM “CHINATOWN”

JIYA  
(V.O. Rufus getting stabbed)  
Even though I knew it  
was coming, I couldn’t stop it. 

CUT TO: CLIP FROM “THE SALEM WHICH HUNT”

CAROL  
We can go home together.  
I’m begging you.

LUCY  
I’d rather be hanged. 

CUT TO: CLIPS FROM “KARMA CHAMELEON”

LUCY  
Anthony, you either trust  
me or you don’t.

CHRISTOPHER  
(V.O. Anthony, dead)  
Two rounds to the chest,  
close range. 

CUT TO: CLIP FROM “THE DAY REAGAN WAS SHOT”

JESSICA  
I’m pregnant. 

CUT TO: CLIP FROM “GENERAL” OF JESSICA STEALING THE LIFEBOAT

WYATT  
Jessica?  
What are you doing? 

JESSICA  
I’m so sorry. 

CUT TO: FUTURE LUCY

**FUTURE LUCY  
Everything fell apart.**

CUT TO: CLIPS FROM “CHINATOWN”

JESSICA  
They didn’t threaten me, Wyatt.  
They raised me.

EMMA  
I am so sick of this.  
(shoots Carol and Nicholas)

CAROL  
It still belongs to you.  
All you have to do is take it. 

CUT TO: FUTURE LUCY

**FUTURE LUCY  
And we lost the only  
thing we had left.**

CUT TO: ALLEYWAY CLIP FROM “CHINATOWN”

LUCY  
Flynn. I can’t.  
I can’t. 

CUT TO: FUTURE LUCY

We see her write this in the journal as she says it.

**FUTURE LUCY  
Hope.**

CUT TO: CLIP OF RUFUS DYING IN “CHINATOWN”

JIYA  
Rufus? Rufus! 

FADE OUT:

CUT TO: CLIP FROM “CHINATOWN”

WYATT  
Well, what’re you waiting on?

LUCY  
You guys want to get Rufus  
back, or what? 

END SCENE

INT – PRESENT DAY – BUNKER LAUNCH AREA – DAY

Picking up from the end of the previous episode, the team stares transfixed at Future Lucy and Future Wyatt.

WYATT  
This… shouldn’t  
be possible, right?

FUTURE WYATT  
Time travel problems. 

Future Lucy and Future Wyatt jump from the Lifeboat to join the team. Future Lucy grabbing the journal from the Lifeboat as she does so.

WYATT  
Where are you from?  
_When_ are you from?

FUTURE LUCY  
(glancing at Flynn)  
2023  
(looks to Lucy)  
December 24th, 2023, to be exact.  
Merry Christmas.

MASON  
How are you even here?  
In your own timeline?  
The side effects—

FUTURE WYATT  
We're not immune to the effects.

FUTURE LUCY  
We don't have much time.  
Long story short,  
Rittenhouse still exists.

LUCY  
In 2023?

FUTURE LUCY  
Yes. And it’s… bad.

FUTURE WYATT  
We couldn’t save Rufus, that’s on us.  
We’re hoping you can do better.

JIYA  
What do you mean,  
you hope we can do better? 

Future Lucy moves forward and gives Lucy the journal.

FUTURE LUCY  
Took a long time to  
find this again.

LUCY  
The journal?

FUTURE LUCY  
You’re going to need  
every advantage. 

Lucy looks at the journal in her hands and takes in the weight of what is happening.

FUTURE WYATT  
We’re running out of time,  
we should go.

WYATT  
Hey, wait, what about  
the baby?

FUTURE WYATT  
Whose baby?

WYATT  
Jess and mine, uh, ours. 

Future Wyatt looks confused, like it’s the first time he’s heard of this. He looks to Future Lucy who shrugs in a ‘yeah, I don’t know what he’s talking about either’ way.

FUTURE LUCY  
This timeline—

SFX – HIGH PITCHED RINGING

Future Lucy grabs her head and starts to double over in pain. She’s the only one who hears the ringing as the effects of traveling over her own timeline kick in. Future Wyatt keeps her from falling.

FUTURE WYATT  
Time to go.

LUCY  
What’s wrong?  
Is she okay? Am I okay?

FUTURE WYATT  
It’s the side effects.

MASON  
(almost angry)  
You need to leave before  
it gets worse.

FUTURE WYATT  
Yeah, we know. 

Future Lucy recovers as Future Wyatt pulls her towards the original Lifeboat.

FUTURE WYATT  
We’re leaving you  
our Lifeboat.

JIYA  
You can pilot the Lifeboat?

FUTURE WYATT  
Kinda had to learn what  
with Rufus... 

Future Wyatt doesn’t want to finish that statement as he and Future Lucy walk quickly up the stairs.

FUTURE LUCY  
We’ve made some upgrades  
to the power core. Just don’t ask  
how we got the nuke. 

SFX – HIGH PITCHED RINGING

Future Lucy struggles again, but gets into the original Lifeboat with Future Wyatt. She recovers and looks back at Lucy as she closes the hatch.

FUTURE LUCY  
Someone has to close the Loop.  
Don’t let it be us. 

Lucy is unable to ask for clarification before the hatch is closed. The team stand there, staring at the empty space where the original Lifeboat sat.

MASON  
Well, I have a bottle of scotch that  
isn’t going to open itself. 

This breaks the tension as the group starts to disperse.

Off Lucy who is staring at the journal in her hands… what has her future self just done?

END SCENE

END TEASER

TITLE CARD

**Notes for the Chapter:**

> A ‘previously on’ is supposed to prime the audience for what’s coming. That means everything I put in there... everything... is going to have meaning or purpose at some point in the episode. So....


	2. Part 1 - Act I

**Notes for the Chapter:**

> Thank you for reading! <3

**PART 1 - ACT I**

INT – RITTENHOUSE OFFICE – UNKNOWN LOCATION – EVENING 

Several people, mostly old white men in suits, stand in a very opulent office with dark paneling, expensive looking furniture, and a large mahogany desk with a big comfy chair. Carol and Nicholas had been in a satellite office, this is Rittenhouse main headquarters. Those gathered are clearly the ‘powerful people’ that Carol spoke about in “War to End all Wars.” 

Camera is behind Emma as she walks through the crowd. They part for her like she’s a goddamn queen.

EMMA  
Correct humanity’s mistakes.  
Create a better world. 

Emma POV as she gets to the desk and turns to address everyone. Jessica Logan can be seen standing in the back.

On Emma…

EMMA  
That’s what Rittenhouse is all about, but  
now we're doing it my way.  
None of this bloodline cult crap. 

There is a slight murmur through the group, a few exchanged glances.

EMMA  
So, if that's why you're here, walk away.  
For those of you who choose to stay,  
all I ask is loyalty.

MIDDLED AGED WHITE MAN  
You expect us to take orders from you?  
A lowly engineer from St. Louis?

EMMA  
(why is this a question?)  
Yes.

MIDDLED AGED WHITE MAN  
Guards! Take this imposter away. 

Two Guards move forward, but instead of grabbing Emma, they grab the Man. One Guard holds his gun on the Man like he’s about to shoot him.

EMMA  
Stop.  
(beat)  
I’m fairly certain this rug belonged  
to Queen Victoria. Take him out back  
or somewhere less messy. 

The Guards drag the Man out of the room as he puts up a fuss, but no one comes to his aid. He’s dragged past Jessica who doesn’t even blink.

EMMA  
Consider Rittenhouse under new  
management. I’ll be restructuring the  
Council of Elders to better serve these more…  
enlightened times.  
I’ll be contacting you each individually.  
Until then…

Emma makes a dismissive gesture, shooing them away. The group disperses and Emma walks around the desk, running her fingers along the fine mahogany. She sits down in the big comfy chair, extremely satisfied with herself. Like she’s finally where she’s supposed to be.

Jessica walks up to the desk.

JESSICA  
The bitch with the time  
machine, huh?

EMMA  
Give it six months and I would’ve  
been running this place anyway.  
(laughs)  
I suppose I owe the princess a thanks  
for accelerating my ascension.

JESSICA  
So, what’s next?

EMMA  
You sure you don’t have the  
location of the bunker?

JESSICA  
There were no signs, no unique markers,  
and Wyatt always drives it like he  
stole it… so, might take a bit.

EMMA  
Pity, they’ll be long gone before  
we can get to them then.  
(beat – thinks)  
Well, I suppose it's time to  
pay our last sleeper agent a visit.

JESS  
The team might still follow us.

EMMA  
Yes. I know. 

Off Emma who relaxes back in the big comfy chair… she’s a woman with a plan…

END SCENE

INT – BUNKER – JIYA AND RUFUS’ ROOM - NIGHT

Lucy is sitting on the bed, flipping through the journal. It looks like she’s scanning it for key words. She’s looking for information on how to save Rufus. 

She turns the page and after a second completely stops and blinks. She turns back a page and starts to read aloud.

LUCY  
Grant’s inauguration was the last  
place Flynn should be. There was no way  
the President wouldn’t recognize him.  
(beat as she skims a bit)  
It’s hard to deny your attraction  
to someone when they’re 6’4” and  
you’re trying to hide them behind your  
ball gown in the stables outside of  
the Treasury Building. 

Close up on the journal as Lucy turns a page. Focus on written words at the top: _Even when it seemed like we were enemies, Flynn never wanted to hurt me. I always understood this, but later that night, as I laid in his arms, I couldn’t remember the last time I felt safe, felt loved._

Off Lucy who doesn’t know how to process what she just read…

CUT TO:

INT – BUNKER LAUNCH AREA – NIGHT

Mason is examining the outside of the new Lifeboat as Christopher looks on. Jiya exits the Lifeboat, walking down the ladder. She’s a little bit excited, ready to get moving and save Rufus.

JIYA  
(in awe)  
They neglected to mention it has  
advanced reentry stabilization  
and Tipler Cylinders.

CHRISTOPHER  
Nice work, Jiya.  
I'm guessing you're the  
one who built it.

MASON  
Well, I might've made a  
suggestion or two. 

Mason jibs but pats Jiya on the shoulder like a proud father.

JIYA  
Alright, so let’s go. 

Mason and Christopher exchange looks, unsure.

JIYA  
I mean, if we can go back to our  
own timeline then let’s go  
back and save Rufus.

MASON  
Yes, we could, but are you overlooking  
the fact Future Lucy's head nearly  
exploded? For all we know, that  
was their one and only trip  
before she… 

Mason makes vague hand gestures denoting death.

FLYNN  
(joining the group)  
It wasn't the only trip.  
She came to see me in São Paulo  
before all of this began.

CHRISTOPHER  
What are you talking about?

FLYNN  
Christmas Eve, 2014, Lucy showed up  
and handed me the journal.

CHRISTOPHER  
Christmas Eve? That’s the day they  
said they came from, in 2023?

MASON  
It doesn’t matter.  
Traveling on your own timeline is far  
too dangerous. Those headaches we saw  
were just the beginning. If you stay too  
long, even just minutes, seconds, there are  
nosebleeds, seizures, brain damage,  
uh, memory loss, and then…  
Well, everybody's tolerance is different,  
of course, but eventually,  
insanity and death. 

Jiya listens to what Mason is saying, but she only has one thought on her mind: Save Rufus.

JIYA  
If Lucy and Wyatt are willing to  
risk their lives for Rufus,  
then so am I. 

Off Jiya who would do anything to save the man she loves…

CUT TO:

INT – BUNKER – JIYA AND RUFUS’ ROOM – NIGHT

Lucy is still reading the journal, she’s pensive and thinking. Clearly she doesn’t know what to do with this new information she’s uncovered.

There is a knock on the door which is ajar. Wyatt pops his head in.

WYATT  
Can I come in? 

Lucy quickly turns the pages of the journal to anywhere but where she was reading.

LUCY  
Yeah, sure.

WYATT  
Find anything about Rufus yet?

LUCY  
No, not yet. But I think this was only  
meant to be a resource. If they, we, had  
an actual answer they probably would  
have told us, or bookmarked it,  
or… something.

WYATT  
Yeah…  
(beat)  
Listen, I just wanted to say I was sorry,  
again, for hurting you, with the  
whole Jessica thing. I didn’t…  
It’s not what I wanted—

LUCY  
(short with him)  
Am I really the person you should  
be apologizing to right now? 

Wyatt is about to say something but thinks better of it. He gets the hint.

Off Wyatt as he walks out of the room…

CUT TO:

INT – BUNKER KITCHEN AREA – NIGHT

Jiya is aggressively getting herself a glass of water. Wyatt comes into frame, directly from talking to Lucy.

WYATT  
Jiya?

JIYA  
(quickly)  
You’d do anything to  
save Rufus, right?

WYATT  
Uh, yes, of course.

JIYA  
Mason thinks going back on our  
own timeline is too dangerous. But  
you and Lucy did just that.

WYATT  
It also looked like a Hail Mary Play, which,  
I’m not necessarily opposed to, but those are  
usually reserved for when you have no other  
options, and I think right now we do.

JIYA  
Okay, options. Lay them on me.

WYATT  
I… I’m just a soldier. This time travel  
stuff is so over my head. But you’re the  
smartest person in a building that also  
houses Connor Mason. Rufus knew  
that. He always said there was no  
puzzle you couldn't solve.

JIYA  
(beat)  
Was that before or after your  
wife kidnapped me? 

Wyatt has no response to that.

SFX – MOTHERSHIP LAUNCH ALARM

CUT TO: 

INT – BUNKER LAUNCH AREA – NIGHT 

Mason is running up to the computer console, killing the alarm. Flynn and Christopher are walking up from the Launch area. Jiya and Wyatt are coming in from the Kitchen. Mason brings up the Mothership details.

MASON  
January 28, 1848, near Sacramento.

CHRISTOPHER  
(to arriving Lucy)  
Lucy?

LUCY  
That's four days after gold was  
discovered at Sutter's Mill, which  
instigated the gold rush,  
which basically made  
California a state.

WYATT  
So, Rittenhouse wants gold?  
Shocker.

FLYNN  
A time travel robbery? 

JIYA  
Let them have the gold.  
Let them have California.  
We need to focus on getting  
Rufus back.

CHRISTOPHER  
Listen, when the Mothership jumps,  
we chase it. That's been protocol  
since day one.

MASON  
Are you joking?

CHRISTOPHER  
What’s the point of saving  
Rufus if we’re just going to let  
Rittenhouse decimate history?

LUCY  
Jiya, I want to save Rufus too, and  
we will, but we have to stop Rittenhouse,  
stop Emma, because with every advantage  
she gets she’ll become more difficult to stop.

WYATT  
We can’t save Rufus without a plan.

FLYNN  
For once, we’re in agreement.

CHRISTOPHER  
Rufus trained you to pilot the Lifeboat  
for this very reason. 

Jiya looks between all of them, then realizes they’re right. She needs to focus on the immediate issue.

JIYA  
Okay, we go kick Emma’s ass,  
then we come up with a  
plan to save Rufus. 

Off group who can all agree on this…

END SCENE

EXT – COLOMA – MAIN STREET – LATE AFTERNOON

OVERLAY TEXT: COLOMA, CALIFORNIA - 1848

Establishing shot of Coloma as a small dusty, frontier town. The Team, now dressed in period clothing, walk down the street. Jiya and Wyatt are in front as Lucy and Flynn trail behind. Lucy and Jiya are in simple dresses with shawls. Lucy has used makeup to minimize the bruising from when she fought Emma in “Chinatown.” Wyatt and Flynn are sporting cowboy-esque garb, hats and all. 

On Flynn as he pushes his hand into his shoulder like he’s trying to knead something back into place, wincing slightly.

LUCY  
Is your arm okay?

FLYNN  
It's fine.  
(gestures to his face to mimic hers)  
What about you?

LUCY  
Makeup can only  
cover so much.

FLYNN  
That’s not what I asked. 

Lucy is saved answering by Wyatt and Jiya stopping and addressing them.

WYATT  
Got any idea where the  
sleeper might be?

LUCY  
The smart move would be to  
put them at Sutter’s Mill. 

Lucy POV as she spots James Marshall up ahead, hanging outside of a saloon with others.

LUCY  
That's James Marshall. 

On Team…

WYATT  
Who's James Marshall?

LUCY  
He's the millwright who  
discovered gold. He's bringing  
it here to show his boss,  
John Sutter. 

Team POV on Marshall as John Sutter exits the saloon. Sutter is dressed like a wealthy man who’s just going to get richer with the discovery of gold.

Lucy  
Speak of the devil.  
Looks like history's still on course. 

Medium-Long shot of Team with Marshall and Sutter talking and moving away in the foreground…

Lucy  
Come on. 

The Team moves to intercept the men. Before the Team gets very far, Lucy and Jiya are cat called by two of the workers standing outside the saloon.

CLIFFORD  
I'd like to mine that gold.  
Come back, say hi. 

On Lucy who is 100% Done with everything right now. She turns on them.

LUCY  
Has any woman _ever_  
responded positively to that?

CLIFFORD  
Just admiring the view, miss.

LUCY  
(sarcastic)  
Oh?

CLIFFORD  
We don't see many women  
‘round here, especially  
the pretty ones. 

Wyatt starts to gently pull Lucy back. The last thing they need right now is a confrontation with the locals.

STEVENS  
(laughing)  
First that blonde filly knocked you  
on your ass this morning.  
I reckon this one would too.

FLYNN  
Blonde filly?  
What was she here for?

STEVENS  
Probably gold.

CLIFFORD  
Rumor has it someone found  
some up by the mill. 

Tight on Team…

JIYA  
You think maybe the  
sleeper’s in town?

LUCY  
Possibly.  
We should talk to Sutter first.  
There's a reason Jess didn't  
go straight to the mill. 

The Team starts to move again, towards where Marshall and Sutter disappeared off to. Wyatt stops when he spots something.

WYATT  
Guys. She wasn’t here  
for the sleeper. 

Team POV of a board hanging up outside of the next building. It has posters for all four members of the team. Lucy. Jiya. Wyatt. Flynn. Wanted Dead or Alive written in large, bold font. The vital stats of each member are corrected listed below.

FLYNN  
Okay. Now, that's our cue to steal  
some horses and catch up with  
Jessica at Sutter's Mill. 

On Lucy who looks between her and Jiya.

LUCY  
We need to change.

JIYA  
Into what? 

Off Lucy walking away, a determined look on her face…

END SCENE

EXT – COLOMA COUNTRYSIDE – LATE AFTERNOON

Establishing shot of the Team riding horses, heading towards Sutter’s Mill. There are a few random trees in the distance. The Team stop under the shade of one of them. They dismount to rest for a moment. 

On Jiya and Wyatt who are standing next to the tree.

WYATT  
Does Mason know how much  
time we’d have?

JIYA  
No, he said it’s different for  
everyone. There’s factors like mass,  
energy… pain tolerance. 

Conversation goes indistinct as Lucy moves past them towards where Flynn is tending to his horse.

On Lucy and Flynn…

FLYNN  
Smart, getting changed like that.

LUCY  
Yeah, well, general lack of females  
in the vicinity, two women on horseback  
would've been flagged a mile away. 

Lucy takes a deep breath and steels her resolve.

LUCY  
Why did you never say anything?

FLYNN  
About what?

LUCY  
About Grant’s Inauguration. 

Flynn is busy with the horse and doesn’t really react, so Lucy finds his eyes under his hat.

LUCY  
About us... 

Flynn is confused for a moment, not understanding her at first.

FLYNN  
Oh… huh.

LUCY  
What?

FLYNN  
(semi-nervous laugh)  
Last time I read the journal it…  
it happened on the _Titanic_.

LUCY  
(surprised)  
The _Titanic_?

FLYNN  
Yeah… well, the _Carpathia_ …  
but close enough.

LUCY  
Do things in the journal change  
that drastically?

FLYNN  
Sometimes.  
But the results are always the same.  
A Presidential inauguration,  
a doomed ship, does it really matter  
where it happens?

LUCY  
But it does… did happen.  
And you never said a word.

FLYNN  
You never brought it up.  
I figured you’d mention it when  
you were ready.

LUCY  
I only just read it.

FLYNN  
Oh, I thought…  
When I gave you the  
journal, before…

LUCY  
Didn’t have the time before my  
mother kidnapped me.

FLYNN  
Right… well, I guess we’re having  
another awkward moment. 

Flynn gives an awkward chuckle, but Lucy is still more focused on what she read. He clears his throat.

FLYNN  
Did you get to the end?

LUCY  
I did. Doesn’t really work  
out, does it?

FLYNN  
The _Titanic_ … the universe’s  
twisted sense of humor. 

The two of them think about a relationship that hasn’t happened yet. One that ends in apparent heartbreak.

LUCY  
You never answered my question.  
Why are you here?

FLYNN  
I’m here for you.

LUCY  
Because I gave you the journal?

FLYNN  
Because you gave me hope.  
(raw – emotional)  
In São Paulo you promised me that  
somehow, someway, we’d save the people  
we love. And I believe you, we will. 

Lucy takes that in, but she knows there is more to it.

LUCY  
Is that the only reason?  
You could have gone after Emma,  
but you stayed…

FLYNN  
I wasn’t going to leave you. 

Flynn looks away as if he’s afraid he’s just revealed something to her, but he doesn’t quite know what that is yet.

FLYNN  
You made your choice, Lucy.  
I respect that.

LUCY  
Doesn’t mean I’ll make the  
same one this time.

FLYNN  
You believe in fate.  
In meant to be. 

SFX – HORSES APPROACHING

On wide shot as several men on horseback come racing towards them. Their conversation is tabled, but it’s given Lucy a lot to think about.

On Team…

WYATT  
We have company. 

The Team gathers together, expecting trouble, but not wanting to escalate the problem if they don’t have to.

On the men on horseback. They are Mexican vaquero’s (livestock herders) who have become outlaws. They are dressed as such. The group comes to halt in front of the Team. They are led by Joaquin Murrieta. He’s a dangerous man, the team is right to be cautious.

MURRIETA  
You gringos stole my horses? 

The team can’t deny it and so stay silent as they glance to each other, trying to figure out how to play this. Murrieta realizes that Lucy is a woman.

MURRIETA  
It’s a lady. 

The group laughs and Lucy slides her hat off.

LUCY  
And you’re Joaquin Murrieta.

MURRIETA  
Lady knows who I am. But your  
friends don’t seem to know why they  
should be afraid. Why don’t you  
enlighten them?

LUCY  
You’re one of the most dangerous  
bandits in California. Your half-brother  
was murdered, and your wife…  
she was assaulted after a  
dispute over a mule.

MURRIETA  
(cold)  
Then what?

LUCY  
Then you killed the  
men who did it.

MURRIETA  
Not all of them.  
(glances between the Team)  
I don't like when people mess  
with what belongs to me.  
Those horses are mine.

LUCY  
Our friend was murdered, too.  
We're looking for the people who did it.

MURRIETA  
(unmoved)  
Tragic story, I'm sure. 

On Wyatt who whose hand is inching towards his gun.

MURRIETA  
You know they hang people  
for stealing horses? 

On Murrieta…

MURRIETA  
Don't worry, I'll save you  
the pain in the neck. 

Murrieta pulls his gun which causes a domino effect of Wyatt, Flynn, and the members of Murrieta’s gang pulling theirs. It’s become a standoff. The Team is outnumbered.

Off this very precarious position the Team has found themselves in…

END SCENE

END ACT I

**Notes for the Chapter:**

> My Garcy consultant, SecretNerdPrincess, has written the Grant's inauguration scene and will be posting it in a few days, so keep an eye out for it!


	3. Part 1 - Act II

**PART 1 – ACT II**

EXT – COLOMA COUNTRYSIDE – LATE AFTERNOON

Picking up from the previous scene, the team is in a standoff with Joaquin Murrieta’s gang over a dispute about them stealing his horses.

Jiya is the personification of ‘ain’t nobody got time for this.’

JIYA  
Really? They hang people  
for stealing stolen horses, huh? 

She walks over to one of the horses and lifts part of the saddle to reveal a brand marking.

JIYA  
Because each one of these horses  
have a different brand on them.

WYATT  
All right, look. We can all start  
shooting each other and see who wins,  
but then we wouldn't be able to  
tell you where the gold is.

MURRIETA  
What do you know about gold?

LUCY  
We know where there's plenty  
of it. It's worth a lot more  
than these horses.

FLYNN  
We'll tell you where it is if you just put  
down your guns and let us borrow  
these horses a little while longer.

Murrieta thinks this over, and after due consideration, puts his gun away.

MURRIETA  
It's a deal, for now. 

The rest of his men follow suit, putting away their weapons. Wyatt and Flynn holster theirs.

MURRIETA  
You’re heading towards  
Sutter’s Mill, no?

LUCY  
Yes, to start.

MURRIETA  
We’ll not make it before nightfall.  
Let us find a place to camp.  
Vamos. Hurry up. 

Murrieta and his group start to trot away.

MURRIETA  
Don't fall behind. 

Lucy POV as she looks at Murrieta’s horse as he goes by.

On Team as they start to mount their own horses.

LUCY  
Must have been Tornado.

WYATT  
As in Zorro's horse, Tornado?  
Zorro was real?

LUCY  
Joaquin Murrieta, he was  
one of the Mexican outlaws that  
inspired the legend of Zorro.

WYATT  
Now you tell me.

LUCY  
Were you going to ask for  
his autograph?

WYATT  
I was a little focused on the fact  
he was trying to kill us.

LUCY  
Come on. 

Off Team as they follow Murrieta…

END SCENE

EXT – SUTTER’S MILL – EARLY EVENING

Establishing shot of Sutter’s Mill which is as dusty and rustic looking as the town. People are walking around with mining equipment. Some are panning for gold in the run off. It’s getting dark, the sun starting to go down.

Jessica, in a period dress, walks up the path towards one of the work buildings. A man is leaning against it, watching her as she approaches.

JESSICA  
Emma sends her regards.

SLEEPER  
Where is Emma?

JESSICA  
I'm her lieutenant now.  
You deal with me.

SLEEPER  
I don’t remember you.

JESSICA  
I had my own assignment.  
Now, show me the gold. 

The Sleeper is not happy with the situation. He reaches down to grab a small barrel. He opens the top to reveal gold nuggets inside. Jessica takes the handle but the man won’t let go.

SLEEPER  
I didn't sleep in the dirt for three  
years here to report to some underling.  
How about we sort this out  
with Emma in 2018? 

Jessica looks at him, maybe she might acquiesce to his demand…? Nah. She swiftly knees him and knocks him down, taking the barrel of gold.

JESSICA  
How about you hand  
the rest over? 

The Sleeper pulls a satchel from his belt and hands it to Jess. She takes it and immediately turns to leave.

SLEEPER  
Where the hell are  
you going?

JESSICA  
You'll be picked up when  
we say the time is right.

The Sleeper starts to reach for his gun.

SLEEPER  
You can't just leave me here. 

Jessica swiftly turns, her gun drawn on the man before he can pull his. He throws his hands up in surrender.

JESSICA  
Pleasure doing business with you. 

Off Jessica as she leaves with the gold…

END SCENE

EXT – COLOMA COUNTRYSIDE - EVENING

It’s gotten dark and a camp has been set up. Murrieta’s men sit around one campfire while Lucy, Wyatt, and Jiya sit around another. They seem to be having a very involved discussion.

On Flynn who is once again tending to the horses. It’s soothing and reminds him of happier times. Murrieta approaches him.

MURRIETA  
Where did you get that  
gun of yours?

FLYNN  
Oh, it's, uh, Prussian.  
But it's not very powerful, though.

Flynn remembers Jesse James and the assault rifle incident. He quickly changes the subject, and his language.

FLYNN  
(Spanish)  
These horses are beautiful.

MURRIETA  
(Spanish)  
You speak Spanish? 

Flynn nods that yes, he does. The conversation continues in Spanish with subtitles until noted.

MURRIETA  
(about the horses)  
They are from Sonora.  
I used to train them.

FLYNN  
You came all this way  
to get them?

MURRIETA  
I didn’t have a choice. My people,  
the Sonorans, found the gold first, you  
know. But filthy Americanos came  
and drove us out after the war.

FLYNN  
So, you stole horses  
to make money? 

Flynn has misjudged the situation as Murrieta gets very cold with him.

MURRIETA  
Every turn I took, I lost or was  
swindled, or robbed, or worse.  
A few weeks ago, I was dealing Monte  
at our camp when a group of men  
came in claiming we stole  
their mule…

Flynn realizes where this is going and he almost doesn’t want to ask.

FLYNN  
What did they do to you?

MURRIETA  
They tied me up like an animal, while  
I watched them kill my brother.  
Violate my wife.  
(beat)  
I’ll stop at nothing to make them  
pay for what they’ve done to my family.  
I’ll kill them one by one if I have to…

Flynn is visibly affected by Murrieta’s story, one that echoes his own. He returns to speaking English.

FLYNN  
Well, I understand how that feels.

MURRIETA  
I don't want your sympathy, gringo.  
You can't begin to understand.

FLYNN  
(quick and broken)  
My wife… my little girl…  
They were murdered…  
by terrible people. 

Murrieta realizes that yes, Flynn does understand exactly how he feels. And that Flynn has been on that road a lot longer than he has.

MURRIETA  
And?

FLYNN  
And I tried it your way, with  
violence, but it didn't solve anything.  
It just created more pain.

MURRIETA  
But they deserve to  
be punished.

FLYNN  
Oh, they deserve to be punished.  
But it won't help your family.  
Believe me, I tried.  
Over and over.  
(sad laugh)  
Until one day you look at yourself  
in the mirror… and you have to  
ask yourself if you’ve become  
just as bad as they are…

MURRIETA  
(beat)  
And are you? 

Flynn glances over at the Team as they are talking around the campfire. Center focus on Lucy.

FLYNN  
I suppose that depends  
on who you ask. 

Off Flynn who has just seen himself in Murrieta and is reliving all that pain…

CUT TO:

EXT – TIME TEAM CAMPFIRE - NIGHT

Lucy, Wyatt, and Jiya are sitting around the campfire, talking. Though Lucy is looking at Flynn and Murrieta.

LUCY  
I thought the legend of Joaquin's family  
tragedy was just some myth from an 1854  
dime novel. I mean, if it's true, he's about  
to go on a murderous rampage across  
the state of California.

WYATT  
Huh.

LUCY  
What?

WYATT  
Sound like someone  
else we know?

JIYA  
Can we get back on track here? 

Lucy and Wyatt return their attention to Jiya.

JIYA  
Like I was saying, the reason future you  
didn’t go back and save Rufus yourself once  
you decided to risk crossing the streams, is  
because they wouldn’t have been able to  
control the resulting cascade effect.

WYATT  
Like a Butterfly Effect?

JIYA  
Basically.  
The farther you’re removed from  
where you affect your own timeline,  
the more things change. Like if a ship’s  
navigator is off by a few millimeters  
at the start they can end up  
miles off course.

WYATT  
Which is how Jess could be  
pregnant in this timeline  
and not the other.

JIYA  
If she wasn’t lying  
about that too. 

Wyatt is about to argue, but Flynn joins them at the campfire.

FLYNN  
Wyatt, I have lived with a pregnant  
woman, and Jessica wasn’t really  
showing any of the signs, even  
of the early stages.

WYATT  
Not all pregnancies are the same.  
Right? 

Wyatt looks to Lucy and Jiya for confirmation. They give a general shrug of agreement and Flynn nods his concede that Wyatt does have a point.

LUCY  
Anyway. What I’m understanding, then,  
is future us traveled to this moment,  
right after Rufus died, so we could  
save Rufus and avoid the pitfalls  
of a Butterfly Effect.

JIYA  
It’s the only thing that makes sense.  
I mean, they gave us an upgraded Lifeboat,  
the journal, and showed us we can go  
back on our own timeline.  
That’s the tools and the recipe right there.  
Let’s go back to Chinatown and prevent  
Emma from shooting Rufus.

FLYNN  
Too risky.

WYATT  
Flynn’s right. We know our time is  
limited, and the worst moment to get  
a killer migraine is right in the  
middle of a shootout.

LUCY  
And it doesn’t save my  
mother either. 

Everyone looks at Lucy, a mix of hard to sympathy and hard to read emotions.

LUCY  
I know she’s Rittenhouse, but  
she’s still my mom. 

Lucy trails off, unsure of her own feelings. The Team takes a moment to consider their options.

WYATT  
What we need to do is find a way to  
prevent Jess from kidnapping  
Jiya in the first place.

FLYNN  
How do you suppose we do that?

WYATT  
Go back and… and prevent Rittenhouse  
from recruiting her as a child?

FLYNN  
Two problems.  
One, Jessica told you Emma was there.  
Secondly, if five years' worth of butterfly  
effect is too risky, what do you think  
thirty-plus is going to do?

JIYA  
Rittenhouse may just try to recruit  
her as a teenager or something.

WYATT  
Well, I’m open to suggestions. 

No one has an immediate answer or solution. The fire crackles and the sounds of Murrieta’s men can be heard in the background.

LUCY  
I have an idea. 

Off Lucy who is about to tell them her plan, one she is conflicted over…

END SCENE

INT – EMMA’S RITTENHOUSE OFFICE – EVENING

Emma is sitting at her mahogany desk, a laptop open showing data as well as files and other reports scattered about. She’s looking through them with a keen eye and shrewd mind.

A nugget of gold is tossed in front of her. Emma picks it up and examines it.

EMMA  
Nicely done. 

Wider shot to reveal Jessica, dressed normally, moving to sit sideways on the desk so she can talk to Emma.

JESSICA  
I’m more of a platinum gal myself.

EMMA  
Give me polycrystalline diamond any  
day. But while loyalty is earned,  
some does need to be bought.

Emma rolls the nugget through her fingers then sets it aside. There are more pressing matters to deal with.

EMMA  
How did Jan do, piloting the  
Mothership on her own  
for the first time?

JESSICA  
Not nearly as smooth  
on the landings.

EMMA  
To be expected. Training her  
without anyone noticing was  
proving quite the feat.

JESSICA  
Well, I’m still here… so…

EMMA  
Good, because I’m going to need  
my best lieutenant for what’s  
about to come next.

JESSICA  
And what’s that?

EMMA  
Hell. 

Emma looks up at Jessica and gives her a Cheshire grin.

Off Emma and Jessica, with these two working together, no wonder the Future Team could never get ahead…

END SCENE

EXT – COLOMA COUNTRYSIDE CAMPFIRE – NIGHT

Jiya is sitting cross-legged next to the campfire, using it to hide her from Murrieta’s men. Her head is thrown back and she’s in vision mode. Flynn is still sitting on a log. Lucy and Wyatt are standing, arguing in hushed tones so not to alert Murrieta’s men.

LUCY  
We’re stronger as a team.

WYATT  
Yes, but, in this case,  
every second counts. I can  
move faster by myself.

LUCY  
Wyatt.

WYATT  
It’s the smart, tactical move. 

Lucy tries to formulate an argument but is coming up short. Flynn takes that moment to reach his own conclusion. He stands to join them.

FLYNN  
I should be the one to do it.

LUCY  
(sharp look at Flynn)  
What?

FLYNN  
If we’re arguing the  
smart, tactical move, I should go. 

Lucy is looking between Flynn and Wyatt like she’s trying to solve a trigonometry problem with circles.

FLYNN  
Look, we don’t know how much time  
we’ll have. If Plan A looks like it’s going  
to fail, then who do you think will be in a  
better position to pull off a Plan B?  
A Delta Force Master Sergeant,  
or an NSA Asset with access  
to all those resources? 

Lucy and Flynn look between each other as if daring each other to argue but knowing that they can’t.

WYATT  
Rufus is dead because of me,  
because I let Jessica in. This  
is my responsibility. 

FLYNN  
All true. 

Flynn steps right up to Wyatt and holds out his hand.

FLYNN  
Stop thinking with your dick  
for once and think like a soldier.  
What’s more important?  
Saving a team member, or  
assuaging your guilt? 

Wyatt stares defiantly up at Flynn, but then breaks when he realizes Flynn is right. Wyatt pulls something out of his pocket and slaps it into Flynn’s hand. We don’t see what.

FLYNN  
(quietly, to just Wyatt)  
We both know the worst part  
of making a mistake…  
is living with it. 

Jiya moves, coming out of her trance and standing up.

JIYA  
Okay, I think I got it.  
I know where to go.

FLYNN  
Great, let’s go.

JIYA  
Wait, you’re going? 

Jiya looks between all three of them, eyes landing on Lucy.

LUCY  
Flynn is our best chance.  
Rufus deserves nothing less.

JIYA  
Oh… okay.  
Then I guess we’ll meet you  
back at the Lifeboat after you  
take care of the sleeper.

WYATT  
We’ll… see you there. 

Jiya and Flynn turn to leave.

LUCY  
Wait. 

Lucy moves forward and hugs Jiya, who is about to risk her life to save Rufus. Because this mission is risky, they all know it.

LUCY  
Good luck. 

Lucy pulls back from the hug and looks between Jiya and Flynn.

LUCY  
The both of you. 

Lucy moves and hugs Flynn who freezes for a second before returning it. She steps back and there may be tears in her eyes but retains her composure.

JIYA  
(confident)  
Don’t worry, me and  
the tree over here got this. 

Flynn makes a face at the tree comment, but then looks at Lucy.

FLYNN  
If this goes South, I guess I’ll see  
you in São Paulo. Feel free to  
tell me what a genius I am. 

The joke falls a little flat as Lucy is worried about losing both of them, and the other two don’t get the reference. Flynn taps Jiya on the arm and gestures for them to go. They then turn and head out of the camp.

Off Lucy and Wyatt as they watch them leave, both with worrisome looks on their faces…

CUT TO:

EXT – OUTSKIRTS OF SAN DIEGO, CA – NIGHT

OVERLAY TEXT: SAN DIEGO, CA – FEBRUARY 22, 2012

The area is remote, just some grassy hills with vague lights in the distance. It’s close enough to cut down travel time, but far enough not to be seen.

VFX – LIFEBOAT BLINKS INTO EXISTENCE

On Lifeboat as the hatch opens. Flynn hops out and adjusts his coat. Jiya pokes her head out but makes no move to exit.

FLYNN  
Now, remember, when you  
start feeling the effects, you get  
back to 1848. Don’t wait for me  
if I haven’t returned.

JIYA  
I know.

FLYNN  
(dad voice)  
I mean it. Succeed or fail,  
none of this will matter if Lucy  
and Wyatt are stranded and the  
Lifeboat is found in 2012 by  
god only knows.

JIYA  
(annoyed child)  
_I know._

FLYNN  
(beat)  
Good. 

There is a heavy weight in the moment, Flynn is about to walk off into the unknown and Jiya can only sit and wait. He turns and starts to leave. Every emotion drains from Jiya’s face as she fully realizes what is about to happen.

JIYA  
Flynn.

FLYNN  
(over shoulder)  
Yeah?

JIYA  
(softly)  
The Force will be with you, always. 

By now Flynn knows Jiya is a Trekkie and Rufus is the Star Wars geek. She’s saying it because Rufus can’t. Flynn gives her a subtle nod, then walks away into the night.

Off Jiya, settling into the curve of the hatch, hugging herself… this has to work…

END SCENE

END ACT II

**Notes for the Chapter:**

> If you think you know where this is going... you're probably right. Tomorrow is gonna hurt. Prepare yourselves accordingly.


	4. Part 1 - Act III

**Notes for the Chapter:**

> Major Character Death

ACT III

EXT – SUTTER’S MILL – MORNING

Establishing shot of the Mill. It’s early morning. Miners and workers are walking around, they don’t seem to take notice of the new arrivals. Lucy and Wyatt approach on horseback with Murrieta and his gang. They stop and dismount.

Lucy approaches Murrieta, a wanted poster in her hand. She’s used it to draw a map on the back of it.

LUCY  
It’s been awhile since I studied  
the gold rush... um… anyway, there  
should be a very large concentration of  
gold right here, give or take a few,  
several, feet. Maybe quarter  
of a mile? Tops.

MURRIETA  
(darkly)  
And why should I trust you?

LUCY  
Uh…

MURRIETA  
(laughs)  
You Americanos are like none I  
have ever met. I believe you  
to keep your word.

LUCY  
Thank you.

MURRIETA  
Tell your tall friend he can keep  
the horses. And that he is one  
of the good ones too.

LUCY  
Oh… okay.

MURRIETA  
Now, if you'll excuse me, I have  
some mining to do before your  
people destroy the land. 

Murrieta and his men walk off, on their way to get supplies before going and staking their claim. Wyatt appears at Lucy’s side.

WYATT  
Alright. The Sleeper’s probably  
been here a while.

LUCY  
That’s Emma’s M.O. 

The two start to walk, looking around. They unknowingly walk up the same path Jessica took the evening before.

LUCY  
They’ll probably have a  
leadership role. We should check  
the foremen, or anyone with  
direct access to the gold.

WYATT  
Hopefully we can find  
them before they spot us. 

Camera follows them as they approach the same building where the gold exchange took place. Clifford, the man who cat-called Lucy earlier, jumps out in front of them with his gun drawn.

On Wyatt as he starts to react, only to realize that Clifford’s friend, Stevens, is standing behind him with two other men, guns drawn.

WYATT  
Oh, these guys. 

Stevens takes Wyatt’s gun from him. Clifford holds up one of the wanted posters.

CLIFFORD  
Now, you didn’t tell us  
you were wanted.

STEVENS  
Where’s your friends?

WYATT  
San Diego, California. 

STEVENS  
How they get there so quick?

WYATT  
Time machine. 

Lucy tries not to roll her eyes at that while the other men just look confused.

CLIFFORD  
We’ll find ‘em.  
Lock these two up.  
It’s gonna be pay day soon. 

Stevens and Clifford force Lucy and Wyatt back down the path, towards wherever they are planning on holding them.

Long view as the Sleeper agent appears on the path, watching. He recognizes Lucy and Wyatt. The question is, what is he going to do about it?

END SCENE

INT – BUNKER LAUNCH AREA – NIGHT

Mason is at the computer, he’s running simulations. Lots of things are moving at once. 

SFX – COMPUTER ERROR BUZZ

He pauses for a second, then starts again.

SFX – COMPUTER ERROR BUZZ

Frustrated, Mason stands swiftly and looks like he wants to strangle the computer.

CHRISTOPHER  
(off camera)  
You okay there? 

Medium pull-back as Mason walks down the steps and away from the thing that is annoying him. Christopher watches him pace.

MASON  
I’m… I’m trying to figure out how we  
can save Rufus without going back on our  
own Timeline. It’s too dangerous.  
We’ve lost… _I’ve_ … lost good  
people that way.

Mason starts to pace a bit and this make Christopher worried for him.

MASON  
Tony… Tony was right.  
Of course, he always was.

CHRISTOPHER  
Tony? Anthony Bruhl?  
Your lead engineer who helped  
Flynn steal the Mothership?

MASON  
He said the day we start building the  
prototype… it would be a day we’d never  
forget, because it would be the day  
we’d regret the most.  
(sad sigh)  
I am almost thankful he’s not alive  
to see how right he was. 

Mason, having burned through his frustration, deflates and collapses into a chair.

MASON  
Never should have invented the  
bloody thing. This, all of this,  
is my fault.

CHRISTOPHER  
You can’t hold yourself responsible  
for other people’s actions. Jessica _chose_  
to kidnap Jiya, and Rufus chose to go  
after Jiya despite her warning  
him not to.

MASON  
(off-handedly)  
Oppenheimer.

CHRISTOPHER  
Oppenheimer?

MASON  
After Hiroshima, he realized the terrible  
mistake he’d made. The “destroyer of  
worlds,” he called himself. 

Mason gets both thoughtful and melancholic, speaking mostly to himself than to Christopher.

MASON  
Nuclear power was supposed to  
change the world. Did no one realize  
obliterating all life, well, the lives  
of one’s enemies, changes  
the world too?  
(sardonic laugh)  
It is too narcissistic to name  
myself the “destroyer of time?” 

Mason sinks further into the chair and stares into the empty space where the Lifeboat usually sets.

CHRISTOPHER  
Can we destroy them?

MASON  
Hmm?

CHRISTOPHER  
The Lifeboat and the Mothership.  
Can they be destroyed?

MASON  
Yes, of course, but that won’t  
make any difference.

CHRISTOPHER  
How so?

MASON  
Six months later, six, and the Soviets  
had their own nuke. Technology advances  
by building off what came before. Some new  
Anthony Bruhl, Rufus Carlin, Jiya Marri, or  
heaven forbid, an Emma Whitmore,  
will come along and invent  
their own time machine.  
Six years from now,  
six months…  
six days ago…  
(sighs)  
We opened Pandora’s box…  
now we just have an empty box. 

Off Mason who carries with him the weight of what he has done…

END SCENE

INT – WORK BUILDING – SUTTER’S MILL – LATE MORNING

The building is about the size of a garage. There are some tools and a few work benches. It’s completely open, so three posts are studded throughout the room to hold the ceiling beams. Lucy is tied to the middle post, Wyatt is tied to the post on her right. The image is reminiscent of the scene in “Stranded,” only with the empty third post where Rufus should be.

LUCY  
How long until those men realize  
they won’t find Jiya and Flynn?

WYATT  
Hopefully long enough for me to  
get these ropes untied.  
Almost got ‘em. 

Quick Cut showing Wyatt’s hands working on the ropes.

WYATT  
When we get out of here, we  
should find Murrieta, see if he’ll  
help us with these yahoos.

LUCY  
He’s probably already grabbed  
some mining tools and gone. Wow, it’s  
been years since I did that research paper.  
I can’t believe I remembered where  
most of the main lodes were.

WYATT  
I can. 

Lucy glances over at Wyatt, she offers him silent appreciation. It’s almost like old times. Wyatt then ruins the moment.

WYATT  
I am sorry—

LUCY  
Now is not the time for this.

WYATT  
I just want you to understand  
I didn’t want to hurt you.

LUCY  
(angry)  
But you did, Wyatt. You did.  
And it wasn’t because you went back  
to Jessica. She was your wife. You got a  
second chance to fix your greatest regret.  
Yes, she turned out to be Rittenhouse,  
but that doesn’t change the fact that  
I did the right thing. I wasn’t going  
to be the other woman.  
(frustrated)  
What hurt me? It was you wanting  
me to _be_ the other woman. 

Wyatt looks like he’s going to disagree with her, but pauses, really thinking that one through.

LUCY  
(tired)  
And can you please stop saying  
you didn’t want to hurt me, and  
just accept that you did. 

The area goes quiet, Wyatt unable to look Lucy in the eye right now. He knows he’s screwed up, in so many ways, on so many levels, and focuses on working the ropes to get himself free.

After a moment, Wyatt becomes thoughtful. Looking past Lucy.

WYATT  
Remember, when Flynn stranded us  
during the French and Indian War  
and we were tied up like this  
by the Shawnee?

LUCY  
I remember. But I doubt Nonhelema  
is going to come through that  
door and save us.

WYATT  
Nonhelema didn’t save us.  
Rufus did. 

Lucy and Wyatt POV on the empty third post.

LUCY  
(soft)  
Yeah, he did, didn’t he.  
Wasn’t the first time either.

WYATT  
Wasn’t the last. 

On Wyatt as he finally gets the rope loose enough and starts to untie himself.

WYATT  
Remember what he said?  
What’s the point of having a  
time machine if you can’t  
fix your regrets? 

Wyatt is free now. He goes to Lucy and quickly undoes her ropes.

LUCY  
What’s the point of fixing regrets  
when you’re just going to keep  
making new ones? 

Lucy is tired and just wants to be done with all of this. She shakes her head and walks towards the door.

Off Wyatt as he pauses, mulling that over before following her…

CUT TO:

EXT – SUTTER’S MILL – LATE MORNING

Lucy and Wyatt are sneaking around, keeping to corners, looking across the open area to check for dangers.

WYATT  
Everyone here probably knows  
we’re wanted by now.

LUCY  
We can’t leave without  
stopping the sleeper.

WYATT  
Should probably get  
my gun back too. 

They move to the next building.

SFX – GUN COCKING

Lucy and Wyatt pause, snuck up on again. This is really not a good day for them, for anyone, actually...

SLEEPER  
(off camera)  
Lucy Preston and  
Wyatt Logan

With their hands up, Lucy and Wyatt turn to see the Sleeper holding a gun on them. Wyatt slowly maneuvers himself to be able to shield Lucy.

SLEEPER  
I think I just found my ticket home.  
I wonder if killing you right now  
will upgrade me to first class? 

SFX – GUN SHOT

On Lucy and Wyatt who realize the shot didn’t come from the Sleeper.

The Sleeper stumbles and falls dead, face planting in the dirt.

Lucy and Wyatt POV as they turn and see Murrieta and his men standing in the open area. Murrieta is twirling his gun, rather pleased with himself.

MURRIETA  
You gringos, I like you, but  
you are hopeless. 

Lucy and Wyatt approach the group.

LUCY  
Thank you, once again.

MURRIETA  
You are lucky.  
We were about to leave.

WYATT  
(light fanboying)  
I just got rescued by Zorro.  
I’m not complaining. 

Murrieta is confused by this comment, but hey, these gringos be like that.

CLIFFORD  
(off camera)  
They've escaped! 

Wide POV as Clifford, Stevens, and two others start rushing towards Lucy and Wyatt. Murrieta and his men, who outnumber the others two-to-one, draw their weapons.

On Clifford and his men as they stop and throw their hands up. They know they done just eff’d up.

STEVENS  
Must have confused you  
with someone else.

CLIFFORD  
We’ll just be going on  
our way now. 

Medium-Wide POV as they start to back up…

WYATT  
Hey. I want my gun back. 

Stevens gingerly pulls it from his waistband and tosses it to the ground.

MURRIETA  
Is that gold you’re carrying  
in your satchels there?

CLIFFORD  
No… ? 

Murrieta and his men cock their guns. Clifford is suddenly helpful.

CLIFFORD  
Yes, yes it is.  
Would you like some? 

Murrieta laughs as he and his men move forward to “liberate” the gold from the men. Wyatt picks up his gun as Lucy watches what happens.

On Lucy and Wyatt…

WYATT  
Well, I guess we’re done here.

LUCY  
Let’s go meet up with  
Jiya and Flynn. 

Off the two of them as they walk towards their horses, the sounds of Murrieta laughing in the background…

END SCENE 

EXT – COLOMA COUNTRYSIDE – EARLY EVENING

This is the same tree they stopped at earlier. Lucy and Wyatt use it once again as a rest stop, dismounting their horses.

WYATT  
It’s going to be dark before long.  
You want to camp here?

LUCY  
We can push through the night,  
they’ll be waiting for us. 

SFX – HORSE NEIGHING, RUNNING IN THE DISTANCE

Lucy and Wyatt POV as they look to see one rider approaching fast from over the hill.

On Lucy and Wyatt…

LUCY  
Is that Jiya?

WYATT  
I think so.

LUCY  
Where’s Flynn? 

Wyatt shrugs, he doesn’t know the answer and there are too many options. The most obvious one looms between them.

Jiya reaches them and quickly dismounts from her horse. She is clearly upset and has been crying. Lucy reaches forward to try to comfort her but Jiya recoils from her touch.

LUCY  
Jiya, what’s wrong?

JIYA  
I waited.  
I got a headache.  
Then I got another.  
My vision started to blur.  
I got nauseous. 

Jiya breaks down in ugly crying, covering her mouth and choking out her words.

JIYA  
I left him.  
I left him there to die. 

Lucy is on the edge of tears herself, but pushes it aside to grab Jiya and hold her tight. Jiya sobs into Lucy’s shoulder as Lucy rubs her back and tries to comfort her. Wyatt stands off to the side, having a silent PTSD flashback.

JIYA  
I kept pushing us to save Rufus.  
Mason warned me and I didn’t listen.  
Now Flynn is dead and it may have  
been for nothing.

LUCY  
(quiet)  
I know he saved Rufus.  
I know it. 

Jiya continues to cry, sobbing against Lucy who holds her. Lucy is trying not to cry herself, to be strong for her friend, even as her mind grapples with the idea that Flynn is really dead. Wyatt takes his hat off, running his hand through his hair, not quite believing it either.

Off this shot as the camera pulls back slowly, Jiya’s crying the only thing being heard…

FADE OUT:

END SCENE

FADE INTO:

INT – IRIS FLYNN’S BEDROOM – EVENING

OVERLAY TEXT: FEBRUARY 12, 2012

This is a typical bedroom for a three-year-old girl. It’s similar to the one seen in “Red Scare” but as there is a two-year difference, allowances can be made for changes. 

Iris Flynn is in bed, holding a storybook with horses on the front of it. Lorena Flynn stands next to the bed, her arms crossed. She’s not angry, she’s trying to stand up to the pouty face of a three-year-old who has Garcia Flynn’s genes.

LORENA  
It is past your bedtime,  
little lady.

IRIS  
(holds up storybook)  
Pleeeeeeeeease… one more!

LORENA  
This whole routine may work  
on your father but I am  
wise to you. 

Iris goes super-pouty-plus-innocent-angel and Lorena narrows her eyes at her, trying to resist.

SFX – PHONE RINGING

Lorena pulls her phone from her pocket and looks at it. She doesn’t recognize the number, but she answers.

LORENA  
(wary)  
Hello?

FLYNN  
(on phone)  
Lorena…

LORENA  
(happy)  
Garcia! Wait, aren’t you supposed  
to be knee deep in something you  
can’t talk about on an open line? 

CUT TO:

EXT – OUTSKIRTS OF SAN DIEGO – 2012 – EVENING

Establishing shot of a pre-2012 sensible sedan sitting in a remote location the Lifeboat once sat. As Flynn starts to talk, camera moves in to show him sitting in the front passenger’s seat. Shot stays tight and close-up on him so we don’t see who is in the driver’s seat. Flynn looks ill, his face clammy and eyes bloodshot.

Camera cuts back and forth between locations as each person speaks unless otherwise noted.

FLYNN  
Yeah, yeah I am. In fact,  
I, uh, I’d appreciate it if you  
never mentioned this call, not  
to anyone, not even to me. 

On Lorena who frowns a little bit. She’s not unaccustomed to cloak and dagger things, and something is clearly off here, but ultimately she trusts her husband.

LORENA  
Um… sure.  
Are you okay?

FLYNN  
Yeah, I’m… I’m good.  
I’ll be back on… Thursday.  
I just needed to hear your voice.  
Can you put Iris on?

LORENA  
Sure, one second. 

On Lorena as she hands the phone to Iris who holds it up to her ear.

LORENA  
It’s your father.

IRIS  
_Tata!_

On Flynn as he visibly breaks… struggles to hold it together as his daughter keeps talking.

IRIS  
Uncle Gabriel sent me a  
new book! It’s about horses! Um…  
(struggles to correctly pronounce _konji_ ,  
the Croatian word for horses)

FLYNN  
(softly helps her)

IRIS  
_Konji!_

On Flynn as he goes from fatherly pride to wincing pain.

SFX – HIGH PITCHED RINGING

IRIS  
Can we go visit him again?  
Uncle Gabriel? 

On Flynn as he recovers, but looking worse…

FLYNN  
Your Uncle Gabriel, huh…

Flynn takes a moment to let that sink in. He’s only ever met his half-brother once… the day he saved his life when he was stung by a bee in “Space Race.”

FLYNN  
Maybe. We’ll talk about  
it when I get home.

IRIS  
And you can read me  
my storybook!

FLYNN  
Yes. Of course I will. 

Flynn is visually a mess of tears and emotions. The last time he saw his daughter she was dead, and right now she just wants him to read her a story.

FLYNN  
_Volim te, mala cvijeta._

IRIS  
_Volim te, tata._

On Flynn who is really struggling to hold it together. He’s dying and he’s getting to talk to his family one last time. He still can’t save them.

LORENA  
(on phone)  
Garcia, are you sure  
you’re okay? 

Flynn clears his throat and tries to recover some semblance of stability.

FLYNN  
I am now.

LORENA  
Is Stiv there with you?

FLYNN  
(nearly nostalgic laugh)  
Yeah, keeping me out of trouble.

LORENA  
Good. Otherwise he’ll have  
to answer to me.

FLYNN  
(chuckles softly)  
Hey, tell me again, about  
Pandora’s Jar.

LORENA  
Oh, well… blatant sexism aside,  
it’s a parable. 

Lorena starts to pace slightly as she tells the story, fiddling with the cross she wears.

LORENA  
When Pandora opens the jar,  
she lets out all the evils into the world.  
Famine, greed, misfortune, sickness, death…  
But she closes the lid just in time to keep  
Hope inside. Which, doesn’t really make  
any sense, right? Wouldn’t you want  
Hope out in the world, fighting  
against the darkness?

FLYNN  
It’s not Hope’s responsibility.

LORENA  
No. It’s ours.  
_We_ fight the darkness.  
As for Hope, when you find it,  
you grab it, you lock it down,  
you shove it in a box.

FLYNN  
And you never let go.

LORENA  
(softly)  
You never let go. 

On Flynn as he feels lifted by those words.

SFX – HIGH PITCHED RINGING

This is a particularly bad one and Flynn struggles, almost dropping the phone.

LORENA  
You there?

FLYNN  
Yeah, um, Stiv’s calling me.  
I have to go.

LORENA  
Okay… I’ll be seeing you  
then, on Thursday.

FLYNN  
I’ll be there. 

Flynn knows this is it, he's in his last minutes, perhaps last seconds…

FLYNN  
I’m sorry, Lorena.  
I’m sorry that… 

Flynn wants to apologize to her for not saving them. But even if she could give absolution for something that hasn’t happened yet, he can’t reveal the future to her.

FLYNN  
…that I leave you.

LORENA  
(gentle)  
It’s okay. I know what I signed  
up for. And hey, you always  
find your way home.

FLYNN  
(soft and hopeful)  
Yeah, I guess I do.  
_Volim te, srećo._

On Lorena until otherwise noted.

LORENA  
_Volim te, srce._

After a moment, Flynn hangs up and Lorena is left looking at her phone. She’s concerned, fiddling with her cross. But once 2012 Flynn returns on Thursday, as Flynn knows he will, he’ll not give Lorena any future cause to be concerned and this memory will slowly slip away. But until then…

LORENA  
(to Iris)  
Okay, one more story. 

On Flynn who is in his last moments. Blood is running from his nose, his eyes are glassed over, and he’s shaking…

FLYNN  
thank you…  
one minute…  
one second…

Flynn goes still and stops breathing. His eyes are open, unblinking. A hand reaches over from the driver’s seat and checks his pulse. Confirming what they already know, they reach up and close his eyes.

Camera pulls back to reveal the person in the driver’s seat: 2012 Agent Christopher.

She looks forward and is contemplative. She’s never met Garcia Flynn and this is two years before he’s reported to have murdered his family, four years before he steals the Mothership. She reaches forward and grabs a phone that’s sitting on the dashboard.

Close up on the phone shows that it’s really new, as in it won’t exist for another five years. Christopher wakes it up and it’s cued on a video. The paused images of Lucy and Jiya can be seen. The video was taken around the campfire in 1848. Christopher presses play. Someone else is filming, holding the phone horizontally so it shakes just slightly.

LUCY  
Hey, Denise.  
Cagney and Lacey here.

JIYA  
I’m Cagney, you’re Lacey.

LUCY  
(keeps going)  
I’m so sorry but we’re going to  
have to ask you to do the hardest  
thing you’ll ever have to do.

JIYA  
Harder than coming out as lesbian  
to her very traditional mother?

LUCY  
Second hardest thing.  
(beat)  
I know we haven’t met in real time yet.  
And when we do, you still can’t tell us we  
came to you in 1981. No matter how much  
you want to say something. No matter how  
much you want to show us this video, don’t.  
Even when you give us back the USB drive.  
Just… trust your gut, trust your instinct,  
and do what you think is right, even  
if I… we… don’t necessarily  
agree with it.

JIYA  
Watch for the Combahee River Raid,  
trust me, it’ll make sense. After the raid,  
you’ll want to keep a very close eye on  
me, like, stalker level, because you’ll  
see something that you’re going to  
find very interesting, and you’re  
going to want to act on it.

LUCY  
We’ll explain everything  
when we get back.  
(beat – regretful)  
And I’m sorry, I know this is a big  
burden to place on you, but I promise,  
it’s important. Thank you.

JIYA  
Thank you. I really mean that.  
Thank you. 

The video ends and Christopher puts the phone back to sleep.

Off Christopher as she stares out into the night… trying to make sense of all of this…

END SCENE

END ACT III

**Notes for the Chapter:**

> Reminder: Flynn comes back, you just have to wait *counts on fingers* eight more chapters… seven if you count Sao Paulo.


	5. Part 1 - Act IV

**Notes for the Chapter:**

> Thank you for reading! <3  
> I hope you've survived the experience. 0.0

**PART 1 – ACT IV**

INT – BUNKER LAUNCH AREA - EVENING

Camera is fixed on the empty spot where the Lifeboat sets. 

VFX – LIFEBOAT BLINKS INTO EXISTENCE

Someone unseen at this camera angle rolls the stairs up the Lifeboat. The hatch starts to open and Jiya is the first one to appear. She pauses and stares down the stairs, looking as if her heart has just stopped.

Jiya POV down the stairs to see Rufus standing at the bottom, grinning.

RUFUS  
Admit it.   
You missed me. 

Medium-Wide on the Launch Area as Jiya tears down the stairs and grabs Rufus, squeezing the ever-loving life out of him.

RUFUS  
Uh, okay…

Mason comes into frame as Lucy and Wyatt exit the Lifeboat and walk down the stairs in haste. Lucy hugs both Jiya and Rufus while Wyatt reaches out and squeezes and pats his arm. Everyone is just so glad to see him.

RUFUS  
Really feeling the love here guys, but,   
it’s getting a little awkward.

MASON  
(looking at the Lifeboat)  
Didn’t Flynn go with you? 

Lucy lets go of Rufus to give him his space and Jiya loosens her grip a bit. Neither Lucy, Jiya, nor Wyatt, can seem to get the words out. Rufus realizes Jiya and Lucy have been crying.

RUFUS  
Where’s Flynn?

CHRISTOPHER  
(off camera)  
He’s dead. 

On Christopher as she walks into the Launch Area. She specifically goes to Wyatt, holding out the phone she was looking at in the previous scene in 2012. She’s had it since then in this new timeline, and has been waiting to return it.

CHRISTOPHER  
You took your phone to 1848?

WYATT  
(takes phone from Christopher)  
Forgot I had it on me. It was a long day.  
But it worked? Jessica?

CHRISTOPHER  
Locked in a utility closet. I’m having her   
shipped to a secure holding facility.   
Transport will be here soon.

LUCY  
And my mother?

CHRISTOPHER  
I assume planning   
Rittenhouse’s next move.

Lucy looks relieved, sad, angry, and frustrated all at once. She rubs her hands over her face, trying to retain some sense of composure.

RUFUS  
Well, I’m confused.   
Flynn's dead? What happened?

JIYA  
He saved your life.

RUFUS  
What?

JIYA  
We come from a different timeline.   
One where Jessica didn’t get caught   
trying to kidnap me I… I ended up   
trapped in 1880s San Francisco   
Chinatown… for three years.

RUFUS  
(getting upset)  
Okay, wait, what?

JIYA  
You came to save me, bring me   
home, even though I told you not to,   
because that’s just who you are.   
But it… but it got you killed. 

Jiya is too cried out to manage any more tears but she chokes back a sob. Rufus looks between Lucy and Wyatt for confirmation because he just can’t believe what he’s hearing.

RUFUS  
I… died? 

On Mason who is trying to come to grips with the idea that Rufus was dead. Then his demeanor changes as he realizes what happened.

MASON  
I assume there was some message   
on that phone warning Agent Christopher   
about Jessica’s kidnapping attempt?

CHRISTOPHER  
A video that left out some  
very important details.

LUCY  
We couldn’t take the risk of too many   
changes to the timeline. That’s why we   
couldn’t wait until we came back.

MASON  
(angry, frustrated)  
Bollocks!   
You knew if I got one sniff of your   
plan I would have locked you out of   
the Lifeboat. Going back on your timeline   
is too dangerous, Jiya, you know that!

JIYA  
(shouts)  
I know!   
I know and I did it anyway   
and I got Flynn killed! I waited   
for as long as I could...   
(painful)  
and it wasn’t long enough. 

Rufus, who is still a bit dazed at the idea of having been dead, wraps his arms protectively around Jiya who is teetering on the edge of a breakdown.

On Mason who regrets getting angry and raising his voice at Jiya.

MASON  
I’m sorry, I just… I wish I   
had never invented the bloody thing.   
Then you wouldn’t have had to go   
through that. Any of this. 

Mason walks off, looking for that bottle of scotch that won’t open itself.

CHRISTOPHER  
Don’t blame yourself, Jiya.   
Flynn was already having headaches   
and nosebleeds when he got to me.   
And I’m the one that let him get on   
the Lifeboat, with you, to 1848.   
I didn’t know if it would have   
changed anything, but   
that’s still on me.

LUCY  
(painful)  
What happened to him?

CHRISTOPHER  
Multiple brain aneurisms, as best  
my off-the-books coroner could tell.   
His remains are in an unmarked grave.   
After all of this I’ll have him moved,   
to be next to his family.

LUCY  
He’d want that, thank you.

CHRISTOPHER  
He got to talk to them,   
before the end.  
(beat - thoughtful)  
When he stole the Mothership, I   
could hardly believe he was the same   
man I met. I thought I messed   
up somewhere.

LUCY  
(sorrowful smile)  
People change.

RUFUS  
And some don’t. 

On Rufus as he gives Wyatt a pointed glare.

WYATT  
What?

RUFUS  
I asked you to tell us if Jessica said or   
did anything to make you think she was   
Rittenhouse! And you lied to my face. But   
I forgave you because you’re my _friend_ ,   
and hey, it all worked out, no one   
got hurt. Clearly, I was wrong.

WYATT  
Rufus—

RUFUS  
No. No, you were so worried about  
your stupid Lucy-Jessica soap opera that   
you forgot that there are other people   
here. Who matter to each other.   
Who love each other.   
And I still can’t process the fact Jiya   
spent three… years… in the past.   
(to Jiya)  
That must have been awful.

Jiya shrugs helplessly, still holding on to Rufus like he might disappear on her again.

RUFUS  
And Flynn, I mean, yeah, he got me   
shot and he was a sarcastic asshole, but   
at least he was honest. And now he’s dead.   
He might as well have taken a bullet for me.   
And I have to live with that.

WYATT  
I… I’m sorry.

RUFUS  
Those are just words, man. 

Rufus pulls Jiya away and heads back to their room. Wyatt looks to Lucy who starts to leave.

LUCY  
I’m going to find Mason.   
I need to ask him a question. 

This leaves Wyatt and Christopher. She is giving Wyatt the stern-and-disappointed-parent look.

WYATT  
Can I talk to Jessica?

CHRISTOPHER  
You’re not going to break   
her out, are you?

WYATT  
No. I’m through with   
making mistakes today.

CHRISTOPHER  
(thinks it over)  
Alright. Come with me. 

Off the Launch Area as Wyatt and Christopher leave… the room now empty and quiet…

END SCENE

INT – BUNKER UTILITY CLOSET – EVENING

The closet is very small, with an empty shelf and a rusted over janitor’s sink. Jess is sitting on a chair, her wrist cuffed to a pipe on the wall. She is dressed as she was when she kidnapped Jiya in “Chinatown” sans her jacket and any accessories. 

On door as it opens. Wyatt walks inside, a Homeland agent guarding the door.

They stare at each other. Wyatt is remembering the confrontation in the alley in “Chinatown.” Jessica knows nothing of the other timeline because in this one she was caught and revealed as Rittenhouse.

WYATT  
Was it all a lie?

JESSICA  
You already asked me this.

WYATT  
I’m asking again. 

Jessica looks him over, realizing something is off and that maybe the question he’s asking isn’t so simple.

JESSICA  
If you’re asking if I ever   
loved you... the answer is yes.   
I didn’t even know you were my   
mission until I reported to Carol   
that I was going to leave you.   
She told me I had to stay. 

Wyatt takes a moment to process that.

WYATT  
Are you really pregnant?

JESSICA  
Yes.

WYATT  
(upset)  
Please, Jessica,   
no more lies. 

Jessica frowns and it becomes clear to her that this isn’t the same man she talked to only hours before. She doesn’t know what happened to turn this Wyatt so raw and exposed. Her composure breaks.

JESSICA  
I... hoped...  
I hoped for a lot... and maybe   
I saw things that weren’t there.   
Like the man I used to love.

WYATT  
What happened with us, Jess?

JESSICA  
(tired laugh)  
Of course you’d ask that.   
It was always right in front of your   
face and you never saw it.

WYATT  
Lucy—

JESSICA  
Oh, it goes back much farther than   
that. You couldn’t _wait_ to leave West Texas.   
I thought you wanted to make a better life for   
ourselves, but you were just running away.   
You were running in circles.   
And you knew it,   
deep down you _knew_ it.

WYATT  
I wasn’t…

Wyatt trails off, he can’t finish that sentence.

JESSICA  
Things just kept getting worse.   
Your nightmares. Your paranoia.   
And I tried, Wyatt, I tried, but all you   
wanted to do was crawl into a bottle,   
right next to your father. 

Wyatt is clearing having trouble swallowing this bitter truth… unable to deny it anymore…

JESSICA  
I loved you, Wyatt. And I tried to   
help you. But it’s not my job to fix you.   
I only stayed as long as I did because   
Rittenhouse said I had to.

WYATT  
Rittenhouse only saved you,   
saved your brother, to get to me.   
They don’t care about you. 

On Wyatt as the door opens behind him. Agent Christopher walks in.

CHRISTOPHER  
Transport is here.   
Time to go.

JESSICA  
We’re trying to change the world.   
And we can disagree on what that means,   
but they didn’t do this to you, Wyatt.   
You did it to yourself. 

Off Wyatt as Christopher moves past him towards Jessica... he looks… lost...

END SCENE

INT – BUNKER KITCHEN AREA – NIGHT

Lucy has found Mason and they are sitting at a table. She’s changed into normal clothes and a half empty bottle of scotch with two glasses set between them, along with the journal.

LUCY  
Wait, why did you never   
tell us this?

MASON  
Because it didn’t matter. You were   
never supposed to go back on your own   
timeline. This being one of the many   
reasons it’s a bad idea. 

Mason starts to pour himself another drink.

MASON  
Look. Time is not fixed. You change   
things every time you go back. When   
you return, you basically overwrite   
yourself. You have no memories   
of the new changes.

LUCY  
Like how I remember Amy who now   
never existed, and don’t remember Noah   
who, apparently, I wanted to marry.

MASON  
Exactly. And how I don’t remember   
a time when Jessica was dead.   
When Rufus... 

Mason slams back the glassful of scotch rather than finish that sentence.

MASON  
The point is, if you go back on your   
own timeline you create a fixed point. You   
know, from that moment on, it’s dead space   
because you won’t remember any of the  
the changes you make to the timeline.

LUCY  
December 24th, 2023.   
My future self comes back and...

MASON  
And you effectively die...   
this timeline version of you at least. 

Mason starts to pour himself and Lucy another glass as she thinks about that sober reality.

LUCY  
If I were to go back, go to 2014   
and see Flynn, then I, this version   
of me, would survive?

MASON  
Yes. But... you don’t have to go   
back because you’ve already gone back.   
If you go again, you trigger another ripple   
in time. And maybe... maybe that time,   
Rittenhouse wins. 

Quick Cut of Lucy running her hand across the journal.

LUCY  
It’s like a loop...

MASON  
Not a closed one, but yes. You could   
keep going back to 2014 again and again   
to try to change things. In fact, there is   
no way to know how many times   
you already have. 

LUCY  
Can we stop the loop?   
Close it?

MASON  
Of course, don’t go back. Accept that   
in 2023, you’ll be overwritten. The last   
person standing will always be the one   
from the second to last timeline.

LUCY  
I gave myself the date,   
I made a point to. She didn’t want   
to be the one to close the loop.

MASON  
What kind of future did you come   
from where you would willingly want to be   
overwritten to forget it? And risk giving   
Rittenhouse another chance?

LUCY  
Who’s to say this one will be   
worth remembering?

MASON  
Lucy—

LUCY  
(sharply)  
Flynn’s dead. 

Lucy gets that backed into a corner look she gets when she feels like things are spiraling out of her control.

LUCY  
I’m glad he got to speak to his family   
one last time, but all he ever wanted to do  
was save them. I went to him in 2014, and I   
promised him that somehow, someway,   
we’d save the people we love.   
And I failed him.   
I’ve failed my sister.   
I am beyond happy we saved Rufus...   
but... but we can do better.   
We can save all of them. 

Off the two sitting at the table as the camera pulls away… how could they ever hope to save them all?

END SCENE

INT – BUNKER HALLWAY – EVENING

Jiya comes out of the bathroom. She’s redressed, cleaned up, but very sullen and sad. Wyatt comes into frame. He’s also changed into regular clothes.

WYATT  
Jiya.

JIYA  
I don’t want to talk to you.

WYATT  
I know. But can I just say something   
and then you never have to talk   
to me ever again. I swear. 

Jiya thinks this over for a moment, then gives a ‘go on’ gesture, like she just wants to get this over with.

WYATT  
Jiya, I... I know what you’re going   
through. I know what it’s like to   
leave a good man to die for   
the sake of a mission. 

Jiya becomes more attentive, not having expected for the conversation to be about this.

WYATT  
And I could tell you that you did   
the right thing. That you did what Flynn   
would have wanted you to do. That he was a   
soldier who knew what he was getting into   
and took the risk anyway. That you saved   
Rufus and probably just prevented   
an apocalyptic future.   
I can say it a million times.   
You can repeat it a million times more.   
But it won’t make a damn bit of difference.  
It doesn’t change what you feel. 

Wyatt pauses and collects himself, this is hitting him hard but he has to get it out. It’s the first time he’s ever really admitted this out loud.

WYATT  
What I _can_ tell you... is don’t try to   
bury those feelings because all you’ll end   
up doing is letting yourself be consumed by   
the effort. You’ll torture yourself every night   
with what if’s and coulda been’s. You’ll see   
something that’ll remind you of Flynn and   
you’ll get so angry at yourself you’ll   
lash out at anything near you...   
at those you love. 

Wyatt shakes his head at himself… taking a deep breath just so he can slowly let it out.

WYATT  
You’ll end up hating yourself so much   
you’ll turn into the one thing you truly   
hate just to prove yourself right...   
whether you realize it or not...

JIYA  
(tentative)  
Then what am I supposed to do?

WYATT  
(helpless shrug)  
I don’t know, Jiya.   
Just don’t...  
(lost)  
…don’t be me.

Wyatt is utterly unable to help either of them, and he knows it. He wanders out of frame, not even sure where he’s going...

Off Jiya as she watches him go... she doesn’t know what she’s feeling, and she just wants to feel nothing at all… 

CUT TO:

INT – BUNKER – JIYA AND RUFUS’ ROOM – NIGHT

Rufus is sitting at a laptop, scanning through Wiki as Jiya walks in. He looks up at her with a soft expression. He’s a little worried about her but trying not to crowd her.

RUFUS  
Hey, so, I looked up this Murrieta guy.   
He never became a notorious killer after   
striking rich at Sutter's Mill. Ran a   
highly successful horse ranch.

JIYA  
(quiet)  
Flynn loved horses.

RUFUS  
Zorro still exists though, just based off   
someone else. I guess everyone loves   
an anti-hero, or is he an anti-villain?   
It’s like the difference between   
Wolverine and Magneto. 

Jiya isn’t really listening to him, she’s standing in the middle of the room, staring out into space. Rufus realizes this and stands up, walking over to her.

RUFUS  
Hey, you okay?

JIYA  
No. No, I am not okay.

RUFUS  
Do you... want to   
talk about it?

JIYA  
Yeah, I want to talk. I want to scream.   
I made my peace with living in the 1880s   
but it _sucked_. Being a woman, at that time?   
You... you don’t want to know what I   
had to do to survive. 

Rufus doesn’t know what to say, reaching out gently to touch her, pull her in, and let her know he loves her and he’s there for her.

JIYA  
And I was so focused on saving   
you I didn’t even stop to consider the   
consequences and I got a man killed.

RUFUS  
No, no you didn’t. I don’t know what   
possessed Flynn to do it, maybe he was   
trying to make up for all the times he tried   
to kill me, but he knew the risks,   
you did the right thing.

JIYA  
(quietly)  
A million times...

RUFUS  
What?

JIYA  
It’s something Wyatt said, a little   
bit ago. That regardless of the truth,   
it won’t change how I feel. But I can’t run   
away from those feelings, otherwise...   
I’ll just be consumed by them.

RUFUS  
(thoughtful surprise)  
He said that?

JIYA  
I love you, Rufus.   
I love you and I want to spend   
the rest of my life with you. That’s the   
only truth that matters right now. 

Jiya kisses Rufus deeply, passionately, and they hold each other close, as if they are the only two people in the universe. After a moment, Jiya pulls back just enough to be able to look at Rufus directly. She’s sad, but resolved.

JIYA  
I think I’m going to   
need some help. 

Rufus kisses her forehead and pulls her back in.

RUFUS  
I’ll be here for you. 

Off image of the two holding each other... they are stronger together...

CUT TO:

INT – BUNKER KITCHEN AREA – NIGHT

Lucy is placing glasses on the table as Mason is filling them with scotch. Christopher walks into view, looking stoic as usual. 

On Rufus and Jiya as they enter, hand in hand. Jiya breaks away from Rufus and walks up to Mason. There is a moment of unsurety between them. Jiya reaches forward and hugs Mason like a daughter might hug their father. Mason returns the gesture, letting her know he’s sorry and it’s going to be okay.

On Rufus as Wyatt walks up beside him, the last to the gathering. Rufus doesn’t look at Wyatt as he speaks.

RUFUS  
You were in denial. I can understand   
that part. It’s the fact you didn’t trust   
us, that hurts. We’re a family. 

Wyatt doesn’t argue any of these points.

RUFUS  
(sighs)  
And every family has the idiot cousin.   
(looks at Wyatt)  
I ain’t going to forget this, and I   
sure as hell ain’t gonna forgive you.   
But I will give you a chance to make this   
right. And, boy, I won’t make it easy   
for you, but I will let you _try_.

Wyatt almost says something, but nods, accepting he’s going to have to do penance. Rufus then moves to join Jiya and Mason.

Everyone takes a glass, a lone one left on the table, half-filled and untouched.

LUCY  
We can argue Flynn’s methods,   
but he was on the right side of   
history from the beginning.

CHRISTOPHER  
Oh, we’ll argue, but...   
he just wanted to save his family.

RUFUS  
He saved me instead.   
I suppose I can let it slide,   
him getting me shot...   
just this once.

JIYA  
I’m actually going to miss   
that big dumb tree.

MASON  
We’ll be poorer without him. 

Everyone glances at Wyatt.

WYATT  
Well, I didn’t hate the guy.  
He... I could trust him   
to have my back.

LUCY  
We all could.

MASON  
(raising his glass)  
To Garcia. 

The rest of team echoes the sentiment, raising their glasses and giving a subdued toast to Garcia before taking a drink.

On Wyatt who has lifted his glass, but instead of drinking the amber liquid, he’s starring down into it, as if he’s discovered something profound at the bottom of the glass.

On Medium-Wide shot of the Team as take in this moment.

Off Team as camera pulls back... they can’t give up, they can’t stop fighting… they need to stop Rittenhouse once and for all... whatever it takes…

END SCENE

END ACT IV


	6. Part 1 - Tag

**Notes for the Chapter:**

> Thank you for your continued reading! <3

**TAG**

INT – BUNKER LOUNGE AREA – DAY 

OVERLAY TEXT: SEVEN MONTHS LATER

Christopher is sitting on the sofa, she’s knitting another horrible scarf. 

SXF – WOOSH OF LIFEBOAT RETURNING

Christopher glances up, she doesn’t seem to be looking forward to the Team’s return. She sets the knitting aside and stands up. 

Camera follows Christopher as she walks into the Launch Area, taking a folder from a table as she does so. She grabs the stairs and moves it up to the Lifeboat just in time for the hatch to open. Jiya is the first one out. She’s dressed in 70’s attire, just like the rest of the team. Lucy, Wyatt, and Rufus follow in that order. Wyatt looks like he’s been through the wringer, clothes torn and messed up.

CHRISTOPHER  
Everything go okay?

JIYA  
I got to punch Jan in the face,   
so I’m happy.

RUFUS  
(rather pleased)  
Wyatt got into a fight with   
a goose and lost.

WYATT  
(defensive)  
It was a mean goose.

LUCY  
Let’s just say, if you thought big tech   
is bad now, you don’t want to know   
what Rittenhouse had in store. 

CHRISTOPHER  
Good.  
(to Lucy)  
There’s no easy way to say this, but   
we found where your mother and   
Nicholas were hiding out, only,   
Emma got to them first. 

Christopher hands Lucy the file, it’s a case file from the San Francisco police department. Lucy takes and stares down at it, through it.

LUCY  
(quietly)  
I warned her. I warned her over   
and over and she just wouldn’t listen   
to me. She never listened... 

Christopher reaches forward to comfort Lucy, wrapping an arm around her shoulder and leading her towards the kitchen.

RUFUS  
So, that’s it...   
Emma is in complete control   
of Rittenhouse now. 

Off Rufus, Jiya, and Wyatt knowing that a bad thing just became worse...

END SCENE

INT – RITTENHOUSE OFFICE – AFTERNOON

Emma is sitting behind the same mahogany desk from before. She’s finally taken her rightful place as head of Rittenhouse in this new timeline. A few men and women stand before her, all loyal soldiers.

EMMA  
What do you mean it failed?

MIKE  
There are still a few pockets of those   
who are loyal to Cahill. His family   
were founding members. 

EMMA  
Blood doesn’t automatically   
make you a capable leader.   
Have you met Nero?   
Because I have.   
(beat - realization)   
I may have also burned down Rome...   
but that’s beside the point.   
Cahill thinks if he sits quietly and waits   
long enough, I’ll fail and he can   
just swan right back in.

MIKE  
We can try again, but he’s   
using that prison as his own   
personal country club.

EMMA  
We’ll revisit the matter later.  
No, I think right now we need to focus on   
the Princess and her Court. With Carol gone,   
the zealots might start looking to   
Lucy as the second coming.

MIKE  
What would you like us to do?

EMMA  
Kill her, something that so far   
none of you have yet to manage. 

Emma is frustrated, thrumming her fingers on the desk. That’s when it comes to her…

EMMA  
(to herself)  
Oh, Anthony, you always   
were right. 

Emma laughs and everyone looks between each other, waiting for her to continue.

MIKE  
Ma’am?

EMMA  
When we’d run across an issue in   
simulations, Anthony’s first response   
was always ‘check your variables.’ We   
have the who, we have the when...   
but I forgot about the where. 

Off Emma who finally has a way to stop the Team...

END SCENE

INT – BUNKER – LUCY'S ROOM – EVENING

Lucy is back in modern clothes, but she’s a little disheveled. She’s sitting on the bed, staring into the floor. The police report is spread around. How long has she been looking at it?

SFX – KNOCKING

LUCY  
(slow to respond)  
It’s open. 

Door opens and Wyatt walks in. He has a sandwich on a plate and a glass of water.

WYATT  
You missed dinner.

LUCY  
I wasn’t hungry.

WYATT  
You weren’t hungry at breakfast   
or lunch either. I’m pretty sure you   
haven’t eaten since before 1975. 

Wyatt sets the plate down beside her and the glass on a table next to the bed.

WYATT  
Just try to eat some of it.   
Your brain may not be hungry,   
but your body will thank you later. 

Lucy doesn’t respond. Wyatt waits a moment, then turns to leave.

LUCY  
How did you feel, when   
your father died?

WYATT  
(still facing away)  
Nothing.   
I thought I’d feel relieved, maybe   
even sad, but the truth is, I didn’t care   
enough about him for either. Only went   
to the funeral for Grandpa Sherwin. 

Wyatt turns back, Lucy isn’t looking at him, she’s half-lost in thought.

WYATT  
But my dad was an abusive drunk,   
never gave a damn about me. 

LUCY  
My mother tried to control my life,   
be the daughter she wanted me to be.   
I know it’s not the same, but   
how is it any different? 

Lucy looks like she’s being pulled in a dozen directions at once and doesn’t know which way to turn.

WYATT  
It’s okay to miss her.

LUCY  
(cracking)  
She’s died, twice.   
The first time in my arms.   
Why does this feel even worse? 

Wyatt sits down on a chair across from Lucy. He starts to reach for her and stops himself, putting his hands on his knees. He just sits there with her so she isn’t alone.

LUCY  
I was losing her to cancer.   
I lost her in Chinatown. And now   
I’ve lost her again. I tried to save her.   
If she... if she just left Rittenhouse...   
if she just did the right thing...   
I would have forgiven her.   
(struggling)  
I know we have to keep fighting...   
but I don’t... I can’t... 

A quiet moment passes, Wyatt waiting to see if she is going to say anymore before he speaks up.

WYATT  
You know, I lied to you,   
in 1944.

LUCY  
(sharp look)  
You mean when we   
met Ian Fleming?

WYATT  
Yeah. You were struggling   
then, feeling out of control.   
Just like right now.

LUCY  
You told me I had to get   
over the hump. To find what I was   
fighting for. Was that a lie? Because   
I’m still fighting for Amy. For   
Flynn and his family. 

WYATT  
No. I said I was over the hump.   
Truth is, there’s more than one. There   
always is. They can come out of nowhere.   
Or the incline is so gradual you don’t realize   
how high up you are until you go crashing   
down the cliff on the other side.

LUCY  
Oh…

Lucy turns thoughtful, wondering how much of himself Wyatt is talking about.

LUCY  
So… ah… what do you do about  
these other humps? Find more   
things to fight for?

WYATT  
Sometimes. You can also find others   
to help you fight. The important part is   
to make sure you’re not ignoring them,   
or you could fall off that cliff. 

Lucy watches him for a moment, giving him a small but appreciative smile. He returns it.

LUCY  
Are you still fighting for your   
Grandpa Sherwin?

WYATT  
Yeah. He’s the first person who   
really believed in me.

LUCY  
What else are you fighting for?

WYATT  
(straight faced)  
The Hulu password. 

Lucy lets out an involuntary laugh and pulls her hands away, covering her mouth. She gives him a ‘what the…?’ expression.

WYATT  
(light laugh)  
I’m serious. After… after I screwed   
up, Rufus locked me out…   
of everything…   
literally.

LUCY  
I remember.   
He also stole all your socks.

WYATT  
Yes, yes he did.  
(dry chuckle)  
Anyway, I’ve been trying to make   
it up to him, to both of them. Trying to   
rebuild that trust, bit by bit. The password   
is like the last bastion. When he finally   
trusts me with that, then I’ll know   
we’re good. That we’re back to   
where we should be. 

Lucy nods, giving him a supportive smile. His efforts have not gone unnoticed. She picks at the sandwich, tearing off the crust to nibble on it as she talks.

LUCY  
You would think my mom would   
be one of those strict no-television kinds   
of parents, but she wasn’t. We’d sit and   
watch period pieces, biographies, based on   
true events, and just rip them apart.   
“That’s the wrong century.”   
“That’s based on flawed assumptions.”   
“Don’t use such wide-reaching statements   
if you can’t quote your sources.”  
(nostalgic laugh)  
My dad… Henry… once said we could   
probably pick out the historical inaccuracies   
of Star Wars. Which, I can, thank you,   
just don’t tell Rufus.

WYATT  
(chuckles)  
Your secret is safe with me.

LUCY  
(smile turns into a sigh)  
I do love history. I loved learning about it.   
I just didn’t want it to be my life.

WYATT  
Never too late to start a band.

LUCY  
Maybe. But as much as we’ve   
proved history can be changed. I think   
there are some things that just   
aren’t meant to be.

WYATT  
By that argument, there are   
some things that are. 

Off Lucy and Wyatt as they sit there, contemplating what is choice... and what is fate…

CUT TO:

INT – BUNKER LOUNGE AREA – EVENING

Christopher is hanging Christmas lights across one of the walls. Mason walks into frame.

MASON  
What are you doing?

CHRISTOPHER  
What does it look like?

MASON  
I think it’s hardly time for celebrating   
anything, let alone the magnum opus of a   
religion you don’t even ascribe to. 

Christopher turns to Mason and gives him her best Bunker Parent look.

CHRISTOPHER  
Michelle does, most the people in this   
bunker do, and that’s not the point. 

MASON  
And what would that be?

CHRISTOPHER  
The fact you think there is nothing   
left worth celebrating is exactly   
why you should. 

SFX – MOTHERSHIP JUMPING ALARM

Any response Mason had is cut off by the alarm. He rushes over to the computer as the rest of the team make their way to the Launch Area, having heard the alarm.

MASON  
Mothership jumped to   
December 24, 1950, in...   
oh, dear, North Korea. 

Once again, everyone looks to Lucy who seems to be faring better since her talk with Wyatt.

LUCY  
Well, that's the last day of the   
Hungnam evacuations in   
the Korean War.

WYATT  
It's just after the Battle of Chosin.   
"Frozen Chosin," my grandpa called it.  
Said it was the coldest he'd   
ever been in his life.

RUFUS  
Is Rittenhouse trying to eliminate   
you from the timeline by taking   
out your grandfather? 

WYATT  
No. He was wounded and sent   
home before they started   
evacuating on the 10th.

JIYA  
Why did they evacuate? 

LUCY  
Well, the U.N. troops were winning the  
war, that is, until the Chinese Communist   
army descended upon them and forced them   
to evacuate to the Port of Hungnam.

WYATT   
It was the Dunkirk of   
the Korean War.

LUCY   
Thousands of Korean refugees showed up,   
families just desperate to evacuate. Instead of   
leaving them behind, General Edward Almond, he   
wanted to see how many he could save. But there   
was a-a cargo ship, the _USS Meredith Victory_ ,   
they were only supposed to carry about   
60 people, but they ended up   
leaving with 14,000.

JIYA  
And nobody died?

WYATT   
Not a one.

LUCY  
In fact, there were five babies born on board.   
They called it "The Miracle of Christmas."   
Why would Emma go after refugees? 

RUFUS   
'Cause she's the ultimate Grinch?

CHRISTOPHER  
Let’s not wait to find out. 

WYATT  
Bundle up. It's gonna be cold. 

Off the Team as they move into action...

END SCENE

EXT – OUTSIDE HUNGNAM, NORTH KOREA, 1950 – EARLY MORNING

OVERLAY TEXT: NORTH KOREA, DECEMBER 24, 1950

The Team of four are walking down a road in a remote looking area. It’s still dark and it’s hella cold. They are bundled up in period North Korean clothing. Wyatt is reading a map at the front of the group.

LUCY  
(to Rufus)  
Did you have to park the   
Lifeboat so far away? 

RUFUS   
Well, we don't want Communist   
troops to come dashing through   
the snow to find it.

WYATT  
Port's south of here.

JIYA  
It looks like there’s a little village   
up ahead. Maybe we can   
find transport.

RUFUS  
So, who's on the boat that's   
so important, anyway? 

LUCY  
Uh, the parents of future   
South Korean president   
Moon Jae-in? 

RUFUS  
And Emma cares about   
that because? 

Lucy shrugs helplessly, she hasn’t figured that out yet.

WYATT  
We got to keep moving   
fast to stay warm. 

SFX – HELICOPTER BLADES WHIRRING

Camera pans up as the team looks to the sky.

VFX – HELICOPTER PASSES OVERHEAD

On Rufus...

RUFUS  
Is that a Heliclockter?   
Copter. Heli _copter_.

WYATT   
Must be taking survivors to port.   
Let’s keep going. 

Off the Team as they continue down the road...

END SCENE

INT – BUNKER LAUNCH AREA - DAY

Mason is walking up to the computer desk, Christopher is sitting on the sofa, knitting again.

CHRISTOPHER  
What’s wrong?

MASON  
The team is usually   
back by now.

CHRISTOPHER  
Well, it is North Korea.

MASON   
Exactly. Why the Korean War?   
I can't for the life of me think of what   
Emma could profit from or need there. 

Mason is typing away at the computer.

CHRISTOPHER  
Nothing she does would   
surprise me.

MASON  
Emma may be a loose cannon, but   
she is brilliant, so there has   
to be a reason. 

Mason pauses, looking at the screen as if he’s just seen something horrible and shocking.

MASON  
Bloody hell. No,   
no this can’t be right. 

Christopher stands up and walks over as Mason is typing away.

On computer screen as we see a news article from 1976, the headline reading _The Hungnam Four_. 

Close up on text: “only casualties of the Hungnam evacuation,” “never identified,” and “remains a mystery to this day.” 

On screen as Mason slides the article up to reveal a photo captioned “The only known photograph of the Hungnam Four.” It’s an image of the Team, lying dead inside what looks to be a church. It’s hard to tell it’s them but Mason and Christopher know it’s the Team. The area around them is riddled with bullet holes. It looks like they were ambushed and severely outnumbered.

On Mason and Christopher who realize what this means...

CHRISTOPHER  
They're gonna die there...

MASON  
They already have. 

Off both of them... is… is this it? Is this how it all ends?

END SCENE

END TAG

END PART ONE

**Notes for the Chapter:**

> I will be skipping tomorrow and posting the beginning of Part Two on Tuesday. In the meantime, you might want to check out the song "Move Along" by All American Rejects... for reasons.


	7. Part 2 - Teaser

**Notes for the Chapter:**

> And thus we start the second hour of the two hour movie...

**PART 2 – TEASER**

INT – BUNKER LAUNCH AREA - DAY

Picking up directly from the previous scene, camera shows the article referencing the deaths of the Team in North Korea. 

On Mason and Christopher who are both processing this information and trying to figure out their next move.

MASON  
(snaps fingers)  
The protocol. They might have   
left us a message, buried.

CHRISTOPHER  
Sure. We'll just go dig up a hole in   
the middle of North Korea.

MASON  
Point. Oh, oh I told you she was   
brilliant. Emma didn’t want anything from   
North Korea. She let the team chase her into   
a trap she didn’t even have to set.

CHRISTOPHER  
Freezing cold, enemies everywhere.   
If her agents didn’t get to them,   
the environment would.

MASON  
It says here they’re believed to have   
been killed by Communists troops.  
(frustrated)  
There has to be something   
we can do.

CHRISTOPHER  
Maybe there is. 

Mason looks to Christopher who is considering her options. Mason takes a second and realizes he knows what she’s planning.

MASON  
Denise. Do you really want   
that on your conscience?

CHRISTOPHER  
This may be the only   
time it will work.

MASON  
You might as well make a   
deal with the devil.

CHRISTOPHER  
I’ll use disappearing ink. 

Off Christopher who can be devious when she wants to be…

END SCENE

EXT – ROAD TO VILLAGE OUTSIDE HUNGNAM – EARLY MORNING

The road is isolated and Wyatt and Jiya are walking in front with Lucy and Rufus trailing behind. It’s still hella cold despite the sun being up.

On Lucy and Rufus…

LUCY  
So you’re saying it will work?

RUFUS  
Yeah, in theory, but you can’t   
predict the future.

LUCY  
Even if you’re from   
the future?

RUFUS  
It helps, sure… but how would we   
even start to go about this?

LUCY  
We have five years to figure   
that part out.

JIYA  
(off camera - laughing)  
Hey! 

Lucy and Rufus POV on Jiya and Wyatt as Jiya play punches him in the shoulder. He laughs, shrugs it off, and the two keep talking.

On Lucy and Rufus…

LUCY  
They’re getting along again.

RUFUS  
They kind of bonded over   
group therapy.

LUCY  
Group therapy?

RUFUS  
Yeah, you know that therapist   
Agent Christopher found for   
Jiya to Skype to?

LUCY  
Took her a month to find one with   
the proper security clearance.

RUFUS  
Jiya talked Wyatt into group therapy   
sessions. It’s done him good,   
done both of them good.

LUCY  
Sounds like you’re ready to give him   
the Hulu password yourself.

RUFUS  
Yeah, well, Wyatt dug himself a   
pretty deep hole. But I’ll give it to him,   
instead of wallowing down there he’s   
been climbing his way out.  
(beat)  
You noticed he hasn’t had   
a beer in months?

LUCY  
Now that you mention it…

RUFUS  
I think he’s twelve-stepping it,   
but that’s between him   
and the Keurig. 

Camera stops to allow Lucy and Rufus to walk towards it and out of frame. They are contemplative.

CUT TO:

EXT – VILLAGE OUTSIDE OF HUNGNAM – EARLY MORNING

Wide POV as the team approaches a small Korean village. People are bustling around, there is a nervous energy to the place. A military transport truck is sitting a few yards from a newer but hastily built building at the edge of the village. Two soldiers are standing at the truck, talking. 

The Team spots them and heads over.

WYATT  
Hello, Lieutenant, uh,   
Langford, is it?

LANGFORD  
Morning, folks.   
You seem to be lost.

LUCY  
We’re war correspondents, working   
with Maggie Higgins. Our vehicle broke   
down on the way to Hungnam. You’re not  
going that way by chance, are you?

LANGFORD  
We are, and you’re welcome to   
hitch a ride, but we won’t be leaving   
for another half hour.

LUCY  
Great, thank you.

LANGFORD  
(gestures to building)  
There’s a stove inside, embers should   
still be hot. Might get a cup to   
warm you before we go.

RUFUS  
I don’t even know what it’ll be   
a cup of, but if it’s warm   
it sounds amazing.

WYATT  
Thank you, Lieutenant,   
we appreciate it. 

Langford nods and the Team moves to go inside the building. Once they are out of sight, Langford and the other solider, a Private, exchange glances.

Tight on Langford as he pulls a piece of paper out of his pocket. Sketches of the Team can be seen. 

CUT TO:

INT – OUTPOST BUILDING – EARLY MORNING

The Team has gone into the building which looks like a quickly erected military outpost that has been cleared out. It’s an open space with a couple of desks and chairs. Random pieces of equipment have been left behind, a few posters still hanging to the walls.

There is a stove and Wyatt works to get the fire back going.

LUCY  
Whatever Emma has planned, we’ll   
need to solve this one fast. The Chinese   
march dark to dark. We should get back   
to the Lifeboat before nightfall.

RUFUS  
Otherwise, the communists get a   
time machine. Which, incidentally, is   
my least favorite Christmas movie.

WYATT  
I thought that was Lampoon’s   
Christmas Vacation?

RUFUS  
A for effort, but no.

JIYA  
How long does this war   
go on for, anyway?

LUCY  
Another three years, then there’s   
an armistice. But nobody wins.   
North Korea shuts its doors.   
There are families who haven't seen   
or heard from each other in decades.

On Jiya who shudders as if someone has just walked on her grave, her eyes rolling back for a split second.

RUFUS  
Woah, Jiya, you okay? 

Jiya looks up at him as if she’s just seen something horrible.

CUT TO:

EXT – OUTPOST BUILDING – EARLY MORNING

Langford and the Private are just outside the door. They nod to each other. Langford then barely opens the door so the Private can toss in a live grenade. 

SXF – BANG OF A GRENADE 

Langford opens the door completely, the two men going in with guns drawn.

CUT TO:

INT – OUTPOST BUILDING – EARLY MORNING

Langford and the Private walk in slowly, their feet crunching on the remains of exploded furniture. 

Camera sweeps about as the men look for the bodies of the Team… only they don’t find any and there isn’t a back door they could have gone through.

Langford POV, he spots a heavy desk overturned and blocking the corner… like a shield…

On Wyatt as he pops up over the edge of the desk, gun at the ready. He lets of two quick shots.

On Langford and the Private as they go down.

On Team as they slowly start to stand up from the shelter they had taken. They then move to check if the men are still alive. Lucy spots the paper with their sketches and picks it up.

LUCY  
This looks familiar.   
They’re Rittenhouse.   
But how did they know   
we’d be here?

RUFUS  
(to Jiya)  
I’m more curious as to how you   
knew that was gonna happen. 

Off Jiya who doesn’t have an answer for that… and it scares her…

END SCENE

END TEASER


	8. Part 2 - Act I

**Notes for the Chapter:**

> Thank you for reading! <3

**PART 2 – ACT I**

INT – OUTPOST BUILDING – EARLY MORNING

Scene picks up from previous… the team is standing around the dead bodies of the two soldiers that just tried to kill them. They were saved by Jiya knowing it was going to happen.

On Wyatt as he moves to a window which amazingly didn’t break when the grenade went off. He gets up close to, nearly pressing his face against it, and sneaks a glance outside.

On Lucy, Rufus, and Jiya standing in the middle of the room.

RUFUS  
So, you had a premonition,   
that’s not unusual.

JIYA  
I’ve been able to control them   
since Chinatown. And when they do   
come uninvited it’s always been days,   
weeks, in advance. This was… this   
was like a sudden flash of just…   
knowing…

WYATT  
What, like Spidey-Sense?

RUFUS  
(to Wyatt)  
A little proud of you right now.

WYATT  
Dude, you’ve been playing   
_Into the Spider-Verse_ practically   
on a loop for the past week.

RUFUS  
It’s a _good_ movie.

JIYA  
This was probably just a glitch.   
It’s so cold here, my brain’s frozen. 

SFX – TALKING AND MOVEMENT OUTSIDE

WYATT  
The locals are starting to   
get curious. We need to go. 

On Team as they move to the door and swiftly slip out…

CUT TO:

EXT – VILLAGE – EARLY MORNING

The Team is in a position to see the truck and the building. Locals are milling about. They aren’t quite sure what happened, and no one has gone inside the building yet. Some of them are at the transport truck, looking inside.

RUFUS  
They find the bodies,   
this could get ugly.

LUCY  
I don’t know, with tensions   
high like this, they may turn a   
blind eye, not get involved.

WYATT  
If we hope to make it to the   
port and back in time, we need   
that truck. I don’t want to risk   
getting into it with the   
locals, just in case. 

Wyatt POV as he spots the church.

WYATT  
You guys go wait in the church.   
I’ll wait and see if everyone   
leaves, if not, I’ll sneak over   
there and grab the truck.

JIYA  
You stand out here in the   
freezing cold while we   
don’t, deal.

RUFUS  
I’ll hang back here with   
Wyatt, in case he needs   
a distraction.

JIYA  
It’s too cold to argue. 

Jiya gives Rufus a quick kiss and then she and Lucy walk off, with haste, towards the shelter of the church.

CUT TO:

INT – VILLAGE CHURCH – MORNING

On door of the church as Lucy and Jiya walk in, it makes a lot of noise and attention is drawn to them. They stick out as outsiders and quickly make their way to a bench in the back corner. A heavily pregnant woman, Young-Hee, watches them with curiosity.

JIYA  
This place reminds me of this   
little parish I’d visit in Chinatown,   
Saint Anthony’s.   
It’s gone now, destroyed in   
the 1906 earthquake.

LUCY  
Saint Anthony, he’s the patron   
saint of lost items…   
lost people.

JIYA  
And lost souls. 

Lucy and Jiya POV as Young-Hee works her way over to them, trying to be subtle about it.

LUCY  
Everything seems to be working   
out between you and Rufus. I know   
there was a little bit of a struggle,   
when we first got back.

JIYA  
Yeah. I gained a year on   
him, and a lot more scars.  
But we worked through it.  
(soft laugh)  
He’ll make a glib comment and I’ll   
tell him not to sass his elders.  
(softly smiles)  
A lot of things changed, but   
our love for each other,   
that remained. 

Lucy smiles at Jiya and gives her a comforting squeeze of her shoulder.

Wider POV as Young-Hee sits down in front of them. She’s looking forward, like she’s afraid to be seen talking to them.

YOUNG-LEE  
(shushes)  
You need to be careful.   
Informants are everywhere.

JIYA  
(whispers)  
Sorry.

YOUNG-LEE  
What are you doing here?   
I thought there were no   
Americans left in the North.

LUCY  
We're war correspondents.   
We got separated from our unit.  
I'm Lucy, and this is Jiya.

YOUNG-HEE  
I am Young-Hee.

JIYA  
Hi.

LUCY  
Your English is very good.

YOUNG-HEE  
I went to a missionary school.

LUCY  
Oh. Are you evacuating?

YOUNG-HEE  
No. I came here to pray.   
My husband, he's a journalist, too.   
But he asked too many questions.   
They ordered him to print lies.   
We heard they were   
coming for him.

LUCY  
Did he go to Hungnam?

YOUNG-HEE  
Yes. With my son, Tae Woo.   
I pray they are safe on the boat.

JIYA  
And what about you?   
What are you going to do?

YOUNG-HEE  
Wait until our army pushes   
the Chinese back. In a few days,   
maybe this will all be over. Then my   
husband and son will come home. 

Off Lucy and Jiya who exchanges looks… knowing the future is a heavy burden…

CUT TO:

EXT – VILLAGE – MORNING

Long POV on the truck, some men are talking animatedly outside of the building, gesturing towards it.

On Wyatt and Rufus who are watching the exchange.

RUFUS  
How did Emma know I’d   
park outside this village?

WYATT  
Sheer dumb luck?

RUFUS  
Maybe…

Rufus thinks about this for a second, then shakes his head. They’d probably find out soon enough what Emma was up to. He gives Wyatt a thoughtful look.

RUFUS  
Hey, so, you’ve… you’ve really   
taken the whole penance for getting   
me killed and my girlfriend stuck in the   
1880s to heart. You’ve taken everything   
I’ve thrown at you without complaint.

WYATT  
I didn’t want to lose   
any more socks. 

The two share a good chuckle, like old times.

RUFUS  
But hey, I mean it man,   
you fell down pretty hard, but   
you picked _yourself_ back up. You   
did the heavy lifting for once.

WYATT  
Yeah, uh, thanks.   
The therapy really helped.

RUFUS  
Usually does. 

On the village men between the building and the truck. They’ve decide it’s not worth getting involved and skedaddle out of there.

On Wyatt and Rufus…

WYATT  
They’re leaving, let’s go. 

Off Wyatt and Rufus as they move away from their hiding position towards the truck…

CUT TO:

INT – CHURCH – MORNING

Lucy and Jiya are sitting on the bench, Young-Hee still in front of them. 

On door as Rufus opens it and sticks his head through. Spotting Lucy and Jiya, he gestures with his head it’s time to go.

On Lucy and Jiya as they look between each other, knowing what they need to do.

CUT TO:

INT – TRANSPORT TRUCK – MORNING

Wyatt is sitting in the seat of the purloined transport truck, waiting. He looks over his shoulder as the back door opens.

On back door as Lucy and Jiya quickly climb in, turning to help Young-Hee into the truck as Rufus helps her from outside.

WYATT  
Who’s this?

LUCY  
Young-Hee. We’re taking   
her with us to the port. 

They get settled in, Lucy towards the front where Wyatt can lean over and whisper.

WYATT  
Is this who Emma’s after?   
Is she important to history?

LUCY  
Everybody’s important. 

Wyatt thinks about this, then nods and turns back to the wheel, putting the truck into drive.

CUT TO:

INT – TRUCK – EARLY AFTERNOON

Transition to denote a time lapse as they make their way to the port. 

On Jiya’s hands as she fiddles with a pendant.

RUFUS  
What’s that?

JIYA  
(showing pendant)  
Saint Christopher.   
I found it in the church.   
Patron saint of travellers.

RUFUS  
Ah.

JIYA  
I know you don’t   
believe in all this.

RUFUS  
That some magical person is   
out there, watching us,   
looking over us?

JIYA  
Yeah.

YOUNG-HEE  
(getting nervous)  
This is a mistake. I can’t go to   
the port. I need to stay and wait   
for my husband and son to   
come home.

LUCY  
Young-Hee, I know you think   
that they will, but they won’t.   
No one comes home.

YOUNG-HEE  
How can you know that?

LUCY  
I just do. If you get on a boat,   
then you can catch up   
with your family.

YOUNG-HEE  
But then I’ll never   
come home?

JIYA  
Sometimes there’s no   
helping it. My parents had to   
leave their home, in Lebanon. I   
wouldn’t be here if they didn’t.   
Home... isn’t a place. 

There is a quiet moment as everyone considers this truth…

SFX – ENGINE GIVING OUT

The truck comes to a halt, a bit abruptly.

LUCY  
Wyatt?

WYATT  
I know. 

SFX – ENGINE TRYING AND FAILING TO RESTART

WYATT  
Must be the cold.

LUCY  
How far is the port?

WYATT  
Not far, we can walk it.

RUFUS  
Worse Christmas vacation ever…

CUT TO:

EXT – ROAD TO PORT HUNGNAM – EARLY AFTERNOON

The Team plus Young-Hee are walking down the road towards the port. The sun is up but it’s still hella cold.

LUCY  
(to Young-Hee)  
How old's your son?

YOUNG-HEE  
He's eight.

LUCY  
Does he like school?

YOUNG-HEE  
Not as much as I do.   
I'm a teacher.

LUCY  
What do you teach?

YOUNG-HEE  
History. It's hard now. The Party   
wants us to only teach propaganda.   
And a people without knowledge of   
their past history, origin, and   
culture is like…

LUCY  
Like a tree without roots.

YOUNG-HEE  
Marcus Garvey.

LUCY  
I used to be a history   
teacher, too. 

Young-Hee stumbles and groans, clutching at her stomach. Lucy and Jiya catch her.

LUCY  
Are you alright?

YOUNG-HEE  
I am fine. It was only   
a contraction.

RUFUS  
Did she just say contraction?

YOUNG-HEE  
My firstborn took twenty-two   
hours, I can make it to   
the port. 

Young-Hee is hit by another strong contraction, struggles to stand.

WYATT  
Over there. 

The Team helps Young-Hee over to a small abandoned lookout shack, sitting her down on a porch like space in front of it. Young-Hee groans louder.

RUFUS  
Oh, oh no, she’s having this   
baby now, isn’t she?

WYATT  
Looks like it.

LUCY  
There’s a M.A.S.H. facility   
at the port.

WYATT  
Okay, you guys go get help.  
I’ll keep her comfortable here.

LUCY  
Do you know what   
you’re doing?

WYATT  
Young-Hee does.

YOUNG-HEE  
(groan-screams)

LUCY  
We’ll be right back.

JIYA  
I’ll stay here, you guys go.

WYATT  
Just be careful. They're   
shelling the perimeter to   
keep the Chinese out. 

Lucy and Rufus nod and they literally run off, jogging down the road towards the port.

CUT TO:

EXT – PORT HUNGNAM – EARLY AFTERNOON

Establishing shot of the port. Military tents and vehicles are all around. GI’s and Koreans are being evacuated. There is a unit of wounded being treated by doctors and nurses. Explosions from the shelling can be heard amongst the sounds of the evacuation.

On Lucy and Rufus as they jog into the fray. A particularly loud explosion is heard and Rufus ducks reactively.

RUFUS  
You said they bomb   
this whole place?

LUCY  
Can't leave any supplies   
behind for the enemy.

RUFUS  
Everyone makes it   
out alive, right? 

Lucy POV on Forney and Hyun Bong-Hak as they work to get the rest of the wounded moving.

LUCY  
Thanks to those two. That's   
Colonel Forney and Dr. Hyun Bong-Hak.   
They're the real heroes behind this entire   
operation. Convinced General Almond   
not to leave any refugees behind. 

Lucy and Rufus jog up to Forney.

LUCY  
Colonel Forney, sir.

FORNEY  
Ma'am. Why haven't   
you evacuated?

LUCY  
I'm a war correspondent.  
Lucy Preston.   
I work with Maggie Higgins.

FORNEY  
We put Maggie on a   
plane days ago.

LUCY  
I know, we got separated. 

FORNEY  
We need to get you on a boat. 

LUCY  
Of course, of course, but, uh,   
Private Carlin here, he came across   
a refugee who's gone into labor.   
We need a nurse or a doctor. 

On Hyun Bong-Hak who is listening to this and realizing what is happening.

RUFUS  
Soon as possible. 

On Lucy, Rufus, and Forney…

FORNEY  
I’m sorry, but M.A.S.H. is jammed   
up with injured patients. We   
need everyone we got.

LUCY  
Sir, please.

FORNEY  
Ma'am. I got to make sure   
everyone in this port gets out   
safely, okay? Maybe you can   
find a midwife. 

Hyun Bong-Hak steps up to them.

HYUN BONG-HAK  
I'll take care of this, Colonel.

FORNEY  
Really? 

Hyun Bong-Hak gives him an earnest and determined nod of his head. He isn’t going to leave anyone behind if he can do something.

FORNEY  
Last boat departs at 1400 hours.

HYUN BONG-HAK  
Understood.  
(to Lucy and Rufus)  
Okay, let's go. 

Hyun Bong-Hak grabs his medical bag, then the three of them start to jog out of the camp.

CUT TO:

EXT – SMALL SHACK – EARLY AFTERNOON

Wyatt and Jiya are helping Young-Hee. Wyatt pulls off his coat, despite the cold, to use to make her more comfortable. 

On Jiya who has another shudder, her eyes rolling back in her head.

WYATT  
(noticing this)  
Jiya? 

Jiya looks to Wyatt. Oh, this is bad…

CUT TO:

EXT – ROAD TO SHACK – EARLY AFTERNOON

Lucy, Rufus, and Hyun Bong-Hak are rushing up the road, the sounds of shelling and explosions getting louder.

LUCY  
Not much farther.   
Up that hill, about a mile away.

SFX – HIGH PITCHED WHISTLE OF A MORTAR

Team POV to the top of the hill where the lookout shack is.

VFX – EXPLOSION AS THE AREA IS HIT BY A SHELL.

On Lucy and Rufus who screech to a halt at what they’ve just seen.

RUFUS  
No…

Off Lucy and Rufus who realize they may have just seen Wyatt and Jiya die…

END SCENE

END ACT I


	9. Part 2 - Act II

**Notes for the Chapter:**

> MAJOR CHARACTER DEATH

**ACT II**

EXT – LOOKOUT SHACK – EARLY AFTERNOON

Long POV through the flames of the bombed-out shack as Lucy, Rufus, and Hyun Bong-Hak run up the site. They stop and take in the damage with terrified expressions.

RUFUS  
Jiya!!!

LUCY  
Wyatt!!

RUFUS  
JIYA!!!!

JIYA  
(off screen)  
Over here! 

On Lucy, Rufus, and Hyun Bong-Hak as they look to their right. They head towards where they hear Jiya.

On Jiya who is running to meet them…

JIYA  
You the doctor?

HYUN BONG-HAK  
Where is she?

YOUNG-HEE  
(off camera)  
(screaming) 

Hyun Bong-Hak and Lucy head towards the noise while Rufus wraps Jiya up in his arms.

RUFUS  
I thought I lost you.

JIYA  
I got another flash  
premonition.

RUFUS  
You did?

JIYA  
Yeah… once is a fluke,  
twice is developing a pattern. 

Rufus looks a little worried and thoughtful, unsure what this means. Could it just be a fluke, or are Jiya’s abilities evolving? He kisses her on the forehead and holds her close.

SFX – NEWBORN BABY CRYING

CUT TO:

Young-Hee is sitting against a fallen log, with Hyun Bong-Hak tending to her. Lucy and Wyatt are hovering. Young-Hee is holding her newborn child that is swaddled in Wyatt’s coat.

HYUN BONG-HAK  
We need to get her  
back to the port. 

Hyun Bong-Hak moves to help her get up. Young-Hee hands off her child to Wyatt as Hyun Bong-Hak helps her stand. Rufus and Jiya join the group.

WYATT  
(to Jiya)  
It’s a girl. 

Tight on Lucy and Wyatt as Lucy looks up from the child to Wyatt.

LUCY  
(smiling)  
What’s the point of saving history,  
if we don’t save the people it? 

Wyatt smiles back at her, they share a moment between them. Then Wyatt moves to give Young-Hee back her daughter. The group needs to get to the port before it’s too late.

END SCENE

EXT – PORT OF HUNGNAM EVACUATION CAMP - AFTERNOON

The Team, Hyun Bong-Hak, and Young-Hee have returned to the evacuation zone. They have found a wheel-chair for Young-Hee who is pushed along by Hyun Bong-Hak as the others trail behind.

Tight on the Team.

RUFUS  
I’m beginning to think Emma  
pulled a Flynn on us.

WYATT  
What?

RUFUS  
Stranded us in a place we had  
no hope of survival.

WYATT  
Of course. Probably passed that sketch out  
to every village around here. If that didn’t  
get us, then the cold, the shelling, or  
the Chinese would.

JIYA  
We could go with the refugees  
on the boat?

RUFUS  
Then we’re stranded here because  
we’ll never be able to get back into  
North Korea to get the Lifeboat.

WYATT  
Looks like Emma might succeed  
where Flynn failed.

LUCY  
Flynn wasn’t trying to kill us.  
He told me he was going to let us  
sweat it out for a bit 1754, then come back  
and see if we were ready to listen. But Rufus  
ruined his plan by fixing the Lifeboat.

RUFUS  
Man, we could have avoided all  
of this if you had just given him a copy of  
_How to Make Friends and Influence  
People_ instead of the journal. 

Wider shot of Team, Hyun Bong-Hak, and Young-Hee.

HUYN BONG-HAK  
(to Young-Hee)  
We will make you as comfortable  
as possible. But we have to  
get you on a boat soon.

YOUNG-HEE  
But how will I find my husband  
and my son?

HUYN BONG-HAK  
There was no time for record keeping.  
You will see him in Busan, I think.

YOUNG-HEE’S HUSBAND  
(off camera)  
Young-Hee! 

A man and young boy rush up to Young-Hee who is visually relieved, speaking animatedly to them in Korean. They hug and reunite, Young-Hee handing the baby girl to her husband who holds her like he never thought he’d see her.

The Team watches as Young-Hee is reunited with her family. Rufus wraps his arm around Jiya and gives her a little hug. They’ve done a good thing.

HUYN BONG-HAK  
The last boats are leaving soon.  
We need to get all of you on one.

YOUNG-HEE  
(to the Team)  
Thank you! Thank you,  
for everything.

LUCY  
Take care of your family.  
Good luck.

YOUNG-HEE  
And to you. I hope you find  
your way home. 

Young-Hee, her family, and Hyun Bong-Hak head off towards the boats. The Team is left considering their options.

RUFUS  
Well, anything with wheels is  
rigged with explosives.

LUCY  
This whole place will blow as soon  
as the last boat leaves.

WYATT  
Looks like we got a long  
walk ahead of us. 

Off Team who resign themselves to this daunting task…

END SCENE

EXT – ROAD TO VILLAGE – NIGHT

Night has fallen by the time the team has made it back to the village. They are cold, miserable, but determined. Wyatt found another coat at the Port but it’s still hella cold and everyone is feeling it.

SFX – ARTILLARY AND GUNFIRE IN THE NOT TOO DISTANT DISTANCE

RUFUS  
I do not like the sound of that.

LUCY  
It’s the Communists.

WYATT  
We’re going to be surrounded soon.  
Our best bet is to hide out, wait for them  
to pass, and then get to the Lifeboat.  
Let’s move faster.

RUFUS  
Is that really our best bet?

WYATT  
I’m open to suggestions. 

Rufus shrugs, he has none. The Team starts to move more quickly, despite the cold.

CUT TO:

INT – VILLAGE CHURCH – EVENING

The Team slowly enter to find the church is empty, the building illuminated by moonlight coming through the windows. 

SXF – GUNSHOTS AND EXPLOSIONS IN THE DISTANCE 

Lucy and Jiya move ahead as Rufus grabs Wyatt to hold him back.

RUFUS  
This going to work? Because I  
don’t really feel like dying… again.

WYATT  
We're not gonna die, okay?  
Not after everything we've been  
through. I mean, we survived the Alamo.  
Being locked up in the Murder Castle.  
Not to mention the Nazis. I think we  
can survive some Communists.

RUFUS  
(a tad reluctant)  
Yeah, you’re right.  
We have been through a lot.

WYATT  
Just another day at the office. 

Rufus nods, putting his hand on Wyatt’s shoulder.

RUFUS  
Well, in case anything happens,  
I just want you to know…  
the Hulu password…

Wyatt realizes what is happening and this is the moment he’s been working towards for months.

RUFUS  
…is Wyatt Sucks with an x,  
capital W, capital S, and  
an @ for the a. 

Wyatt goes completely blank faced. Rufus pats his shoulder and laughs at him, but in a shared joke kind of way.

WYATT  
Really should have seen  
that coming.

RUFUS  
Yup. 

Rufus gives Wyatt a bro-hug, they are finally back to where they meant to be. Rufus then moves on and Wyatt takes in a deep breath. It feels good to work hard for something and achieve it.

CUT TO:

Rufus catches up with Jiya who is picking up a blanket that was left on a bench.

RUFUS  
So, I’m thinking you’re gonna  
need a superhero name. What do  
you think about Spider-Jiya?

JIYA  
I’m not ready to don a secret identity  
just yet. But… you might be able  
to convince me to wear the  
Spider-Woman costume. 

The two laugh and sit down on the bench, cuddling up under the blanket.

SFX – MORE GUNSHOTS AND EXPLOSIONS IN THE DISTANCE, A LITTLE LOUDER THIS TIME

RUFUS  
(serious)  
Do you really think  
there's someone out there,  
watching over us?

JIYA  
Yeah… yeah I do…

Rufus kisses her on the forehead and tucks her close.

CUT TO:

Wyatt has sat down in front of the pulpit. He’s checking how much ammo he has left. Lucy sits down next to him.

LUCY  
Did I hear right?  
Rufus finally gave you  
the password.

WYATT  
(chuckles)  
Yeah.

LUCY  
I’m glad you guys are  
friends again.

WYATT  
Me too. 

Wyatt glances over at Lucy, a bit timid and afraid to ask.

WYATT  
Are we going to be okay?

LUCY  
Yeah… we are. 

Wyatt nods his thanks to her.

Camera pulls back from them as the sounds of war echo in the background…

END SCENE

INT – EMMA’S RITTENHOUSE OFFICE – DAY

Close up of the image of the Team as they lay dead inside the church. Pull back to reveal that it’s in a book on the Korean War.

On Emma who is reading said book, a self-satisfactory smile on her face.

EMMA  
Merry Christmas to me. 

Emma closes the book and sits it on the desk. She starts to pick up the other paperwork to plan her next move when she looks up sharply.

On door as Benjamin Cahill walks through it as if he owns the place.

On Emma who sits back in her chair, annoyed.

EMMA  
Oh, you…

CAHILL  
Emma.

EMMA  
I’m impressed. I would have bet  
on another year before you crawled  
out from behind the safety of  
those prison walls.

CAHILL  
You always underestimated me,  
the council… my daughter.

EMMA  
Oh, haven’t you heard?  
Your precious princess is dead.

CAHILL  
It’s been brought to  
my attention.

EMMA  
Don’t get all choked up on me.

CAHILL  
Rittenhouse has always been about  
family, about blood, Emma. Something  
you could never understand.

EMMA  
Blood isn’t family, it’s DNA.  
Nepotism drug this organization down.  
I’m going to do what you never could. 

Emma starts reaching for a gun that is sitting on the far end of the desk.

EMMA  
I’m going to change the world. 

On Cahill and the door as Agent Christopher and three Homeland agents come rushing in, guns drawn.

CHRISTOPHER  
Give me a reason. 

Emma pauses in her reach for the weapon, then thinks better of it. She pulls her hand back and places both hands on the top of the desk, in clear view, she knows the drill.

She glances between Christopher and Cahill… and starts to laugh.

CHRISTOPHER  
What’s so funny? 

Two of the Homeland agents move around the desk to grab Emma. Making her stand and cuffing her as she talks.

EMMA  
What did she promise  
you, Benjamin?

CAHILL  
A chance to save my daughter,  
and protection from prosecution  
for my teenage son.

EMMA  
Like you really give a damn  
about either of them.  
(to Christopher)  
You know he’s just going to use  
this as an opportunity to  
rebuild Rittenhouse.

CHRISTOPHER  
Of course, which is why I never  
offered a deal before.

EMMA  
Huh, and all this time, it was _you_  
I was underestimating. 

The Homeland agents are leading Emma out of the room. She stops in front of Cahill.

EMMA  
You realize she’s going to use the  
Mothership to save her team. But if  
they never die, she’ll have no reason  
to offer you the plea deal. This…  
all of this, gets erased. 

The self-satisfactory smile on Cahill’s face drops once he puts two and two together.

EMMA  
(angry)  
You just gave her the keys to the  
castle, and you won’t even  
remember you did. 

Cahill looks to Christopher who gives a faux-innocent smile.

CHRISTOPHER  
Did I forget to mention that?

EMMA  
(to Cahill)  
You’re an imbecile.

CHRISTOPHER  
(to guards)  
Take her to the Mothership.  
And get her a coat.  
It’s cold where we’re going. 

The men tug Emma along and out of frame. The third agent starts to re-cuff Cahill.

CHRISTOPHER  
Cheer up. It’s Christmas. 

Cahill is hauled off and Christopher looks around the room, a well-deserved look of satisfaction on her face. She just played a gambit, and it ended in a check mate…

END SCENE

INT – VILLAGE CHURCH – NIGHT

The sounds of war are still outside, closer now. Rufus and Jiya are sitting on the bench, cuddled up, talking softly to each other. Offering tender touches and kisses.

On Lucy and Wyatt who are sitting in front of the pulpit. They sit quietly in each other’s company.

LUCY  
That doctor, Hyun Bong-Hak?  
They call him the Schindler  
of the Korean War.

WYATT  
Really?

LUCY  
He fought to get all those refugees  
out. He and Forney convinced General  
Almond to do whatever it took. They  
dumped military supplies into the  
sea, just to make room. He saved  
something like 98,000 people today.

WYATT  
(appreciative chuckle)  
Nighty-eight thousand and one.

LUCY  
Yeah…  
(turns sullen)  
He had to leave his pregnant wife  
and best friend behind though.

WYATT  
That… that had to be rough.

LUCY  
He still kept on doing good, helping  
people. But that tormented him  
for the rest of his life.

WYATT  
That’s the part of this job that  
sucks. Sometimes it feels like nothing  
good can come from knowing the  
future… not always being  
able to change it.

LUCY  
Yeah…

SFX – SOUNDS OF GUNFIRE AND EXPLOSIONS, EVEN LOUDER THAN BEFORE

Lucy and Wyatt listen, looking to the windows and the possible chaos outside. They are trying to hide their worry that they might not make it through this time.

LUCY  
I noticed, you know.

WYATT  
Noticed what?

LUCY  
The little things you’ve been doing.  
You gave me my space.

WYATT  
I owed you at least that much,  
after I hurt you. 

Lucy pauses for a second, deciding that maybe it’s time to finish airing all this out.

LUCY  
Why did you do it, Wyatt?  
Why did you choose Jessica?

WYATT  
The truth…?

Lucy nods and Wyatt braces himself to come clean.

WYATT  
I was afraid.

LUCY  
Afraid?

WYATT  
I told you, in Hollywood, I took this  
job because I figured it was dangerous.  
Therapist says I was passively suicidal.  
You saw it at the Alamo. I didn’t  
care if I lived or died.

LUCY  
I remember.

WYATT  
But then I met you… and Rufus and  
Jiya and even Christopher and Mason…  
and things started to right. I had focus, a  
mission, and a team to fight for. 

Wyatt shrugs a bit helplessly.

WYATT  
Then Rittenhouse kidnapped you  
and I about lost my mind. I couldn’t  
lose you, and I couldn’t admit it was  
because I was in love with you.  
I needed you. 

SFX – GUNSHOTS ANS EXPLOSIONS

Lucy and Wyatt glance towards the windows again, but the noises die away. Wyatt looks forward, down the aisle of the church, and continues his confession.

WYATT  
After we spent that night in  
Hollywood, everything seemed… perfect.  
You were happy, I was happy. It was like the  
whole world was in front of us. But there was  
still that voice, the one that told me I was going  
to fail you, just like I failed Jess. Just like I  
failed the men I had to leave behind.

LUCY  
You didn’t fail your team.

WYATT  
I tried telling myself that.  
Didn’t work. 

Wyatt takes a moment, this is rough for him to confess outside of therapy.

WYATT  
Anyway, I get that text from Jess  
and… and Jess was safe, she was known.  
And now I had a chance to make it up to her,  
for failing her. But I couldn’t change how I felt.  
And so I failed her again. I failed you both,  
and I made a mess of everything.

LUCY  
(non-judgmental - factual)  
Yeah… you did.

WYATT  
I still care about Jess, that will  
never go away, but out relationship  
stopped being healthy a long time ago.  
Long before I met you. Long before  
she… died…  
That’s one of the reasons our marriage  
fell apart like it did. I couldn’t accept what  
was happening. I was afraid and angry,  
all the time. And I got her killed. 

Wyatt struggles for a moment, rubbing at his face.

WYATT  
When we got together, it was new  
and wonderful, and I was afraid. I was  
so afraid I would hurt you too…  
I did exactly that. 

Wyatt takes another moment to really let that sink into his own psyche. Lucy is thoughtful, hearing Wyatt’s confession and trying to reconcile it with her own feelings.

WYATT  
Anyway, It doesn’t excuse what  
I did, but you deserved an  
honest answer.

LUCY  
(softly)  
Thank you for that. 

Wyatt nods, feeling better for confessing his sins.

LUCY  
You know, Houdini told me  
fear isn’t real. Fear isn’t what’s  
happening. It’s our reaction to it.

WYATT  
(self-deprecating laugh)  
And I reacted… badly.  
(beat - sullen)  
And I lost you. 

Lucy reaches for Wyatt’s hand. She takes in both of hers. He looks down at this gesture as if he’s not worthy of it, but not wanting her to let go.

LUCY  
Not all lost things stay lost.

WYATT  
Lucy?

LUCY  
You going back to Jess hurt, but  
it didn’t magically make me stop loving  
you. It didn’t change the way I felt, only  
what I was going to do about it. 

Wyatt looks at Lucy with a timid kind of hopefulness.

WYATT  
Can… can I ask for a  
second chance? 

Lucy smiles softly, yet warmly, at Wyatt. Is she going to lean in and kiss him? Yes, she is…

SFX – MOTHERSHIP LANDING, THE NOISE DISTORTED SO IT SOUNDS MORE SINISTER

Wyatt jumps up, gun drawn, heading down the aisle towards the doors.

WYATT  
(quietly)  
Take cover. 

On Rufus and Jiya…

RUFUS  
(to Jiya)  
Your Spidey-Sense going off?

JIYA  
No… but that doesn’t mean we’re  
not surrounded by Communists.

CHRISTOPHER  
(off camera)  
Lucy! Wyatt!

RUFUS  
(hella surprised)  
Is… was that Agent Christopher?

CHRISTOPHER  
(off camera)  
Rufus! Jiya!  
(mom voice)  
You better not be dead! 

Wide shot as the Team looks between each other… holy shit, it _is_ Agent Christopher.

CUT TO:

EXT – VILLAGE – NIGHT

The Mothership has landed in front of the church. Emma is standing in front of the Mothership, hands cuffed. Christopher has her gun on the woman. 

On Team as they walk forward, unbelieving of what they are seeing.

RUFUS  
By the Power of Grayskull…

WYATT  
You got the Mothership?

RUFUS  
And you brought Scrooge with you.

CHRISTOPHER  
Someone had to save your asses. 

On Jiya and Rufus as Jiya holds up the pendent.

JIYA  
Saint Christopher.  
I told you someone was  
watching over us. 

Rufus smiles at her, pulling her in to kiss her forehead.

On Christopher as she moves forward, past an annoyed Emma, to talk to the Team more directly.

LUCY  
How…?

CHRISTOPHER  
Let’s just say Benjamin Cahill isn’t  
as clever as he thinks he is. 

Quick cut showing Emma working a pin against the lock of her cuffs. Yeah, no good can come from this.

LUCY  
Cahill?

CHRISTOPHER  
We have a lot to catch up on.  
Let’s get you guys home. 

The Team is relieved and happy, this might all be over. But as they move forward, Lucy looks at Emma.

LUCY  
What are we going to  
do with her?

CHRISTOPHER  
That’s for a private tribunal  
to decide.

EMMA  
Makes sense. You couldn’t find a  
jury of my peers if you tried.

CHRISTOPHER  
Let’s go.

EMMA  
(rushed)  
Wait!  
I can bring Amy back. 

Everyone pauses at this, knowing how much bringing Amy back means to Lucy.

CHRISTOPHER  
You’re lying.

EMMA  
Try me.  
(to Lucy)  
I only did it because your mother  
ordered me. But I can undo it.  
Means nothing to me and  
everything to you. 

Lucy walks tentatively towards Emma.

LUCY  
Yes, yes it does.

CHRISTOPHER  
Lucy…

EMMA  
I will not rot away in some  
dank cell. So let’s make a deal, like  
you did with Flynn. You help me  
avoid prison, and I’ll get your  
sister back for you. 

Wait, is Lucy seriously considering this?

LUCY  
You can bring Amy back?

EMMA  
You just have to trust me.

LUCY  
(beat - determined)  
I don’t. 

Lucy turns her back on Emma, knowing that she can’t trust her to keep her word, not like she could trust Flynn.

Emma lurches forward and grabs Lucy, wrapping one arm around her neck and her other hand flat against the side of her head. Wyatt and Denise immediately bring their guns up.

EMMA  
Anyone moves and  
I snap her neck. 

The scene is framed in echo of the “Kennedy Curse” where Lucy was being held hostage by Emma. Wyatt has to decide what he was going to do about it.

On Wyatt who is afraid…

On Lucy who is calm…

LUCY  
(to Wyatt)  
Fear isn’t real. 

On Wyatt who goes from being afraid that he’ll hit Lucy, to knowing that she trusts him to make a clean shot. He steadies himself… and fires.

On Lucy and Emma as the bullet grazes Emma just enough that she shouts in pain and Lucy is able to pull out of her grasp. 

Another shot rings out, this one from Christopher, and Emma goes down, falling onto her back.

Wyatt rushes up to Lucy to make sure she’s okay. She’s smiling and relieved.

LUCY  
(purposely echoing the “Pilot”)  
Couple of inches to the right and  
you would have blown my brains out.

WYATT  
(echoing back)  
I’m just that good, ma’am. 

On Christopher who is crouched over Emma, closing her eyes as the woman lays there, dead, her hair splayed around her head like a twisted halo.

CHRISTOPHER  
She’s dead. 

On Team…

RUFUS  
It really is over then…  
we… we’ve won. 

The Team takes a moment to really breath that in.

SFX – GUNSHOTS AND SOLDIERS SHOUTING – VERY CLOSE

WYATT  
Time to go!

CHRISTOPHER  
Everyone into the Mothership! 

The team races for the Mothership as soldiers start to appear, coming through the woods.

Off image of Emma as she lays dead in the snow, the lights of the Mothership reflecting off her…

END SCENE

END ACT II

**Notes for the Chapter:**

> The Grant's inauguration story from the journal is up, it's The Assassination of Ulysses S Grant by SecretNerdPrincess. 
> 
> And if you don't already know the song, you may want to familiarize yourself with the song "Move Along" by All American Rejects. You know... for reasons...


	10. Part 2 - Act III

**Notes for the Chapter:**

> Thank you for reading <3

**PART 2 – ACT III**

INT – BUNKER LAUNCH AREA – DAY

Wide shot of the Mothership and Lifeboat sitting side by side… as they should be.

On Mason as he looks up at them with a sense of pride, even if it’s tempered by the knowledge of what he has unleashed on the world.

Profile shot of Mason as Rufus comes up beside him. They stand there for a moment, taking in the view.

RUFUS  
When you brought me in on this   
project, the geek in me thought of all   
the ways this could go horribly wrong.   
But… I believed in you.  
(looks at Mason)  
Still do.

MASON  
All of this got you killed.

RUFUS  
And yet… here I am. 

Rufus puts his hand on Mason’s shoulder, giving it a good squeeze.

MASON  
I wanted to leave my mark…   
to change the world. And instead,   
I opened Pandora’s box.

RUFUS  
The way I remember it, that   
box was already opened.   
A long time ago.  
(beat)  
And Lucy says it was a jar.   
Translation error. 

Mason gives Rufus a dour look, but he’s unable to hold it against Rufus’ hopeful grin.

MASON  
Alright then, I made this mess.  
What do I do next?

RUFUS  
 _You_ don’t do anything.  
 _We_ on the other hand…

Mason looks at Rufus like a proud father whose son just asked him to play a game of catch after twenty years. Rufus returns the sentiment and they both look back to the Mothership and Lifeboat.

Off Mason and Rufus standing side by side… ready to take on whatever happens next… together…

CUT TO:

INT – KITCHEN AREA – DAY

Medium wide shot as Rufus enters the kitchen, going to the fridge and grabbing two bottles of water. Lucy comes into frame.

LUCY  
Rufus, you got a second?

RUFUS  
Yeah, sure.

LUCY  
I know in a couple of days we’ll be out   
of here, but I wondered if you’ve given any   
more thought to my idea, seeing as we’ve   
finally defeated Rittenhouse. We know   
who the Council of Elders are.   
We know their hideouts.

RUFUS  
And that’s great, but… time doesn’t   
work like that. Remember your grandfather,   
Ethan Cahill? He left us all that information and   
it wasn’t enough. Your mom kidnapped you.   
Emma was a sleeper the whole time.   
And then Jessica…

LUCY  
(reluctantly resigned)  
Right, we can’t just go to Flynn in   
2014 and give him everything we have.   
Who knows what it could set in motion.   
Things could be better, or much,   
much worse.

RUFUS  
It won’t save your sister.   
Or Flynn’s family. Or, hell, even Anthony.   
There are too many… variables…

Rufus looks away, lost in thought, as if a lightbulb has just gone off.

LUCY  
Rufus?

RUFUS  
You know what… give me a   
day or two. I think… I think I might   
know a way we can pull this off.   
But it’ll take a lot of work.

LUCY  
I’d be surprised if it didn’t. 

Off Lucy and Rufus… ready to take on a monumental task that might just save everyone, and they’ll do it together…

CUT TO:

INT – RUFUS AND JIYA’S ROOM – BUNKER – DAY

Jiya is sorting through some of the things, looking like she’s getting ready to pack. Rufus walks in with the bottles of water he just grabbed from the kitchen. He hands one off to Jiya.

RUFUS  
Here you go.

JIYA  
Thanks. 

Jiya takes a drink as Rufus looks around the room.

RUFUS  
We were on the run from a time  
travelling cult who wanted us dead.   
_How_ did we accumulate so much stuff?

JIYA  
(laughing)  
It’s one of those great mysteries   
of the universe. You just   
don’t question it.

RUFUS  
Yeah, figuring how to time   
travel was easier.

JIYA  
Speaking of figuring stuff out…   
do you know what you’re going to say   
to your mom and brother yet?

RUFUS  
No. I mean, I know Agent Christopher   
has me covered, saying I was in WIT-SEC   
and all that, but mom thought I died during   
the explosion at Mason Industries.  
Had a funeral and everything.  
(beat - terrified)  
She’s going to murder me.

JIYA  
Awww…

Jiya wraps her arms around Rufus and hugs him as he deals with his impending mortality.

RUFUS  
She’s going to kill me, bring me   
back, and kill me again. 

Jiya chuckles, burying her face in his chest. Rufus starts to laugh with her… then he turns sullen.

RUFUS  
I can’t wait to give her a hug.  
(thoughtful)  
Man, if this was even a fraction   
of what Flynn was feeling…

Jiya stiffens against him and Rufus is mortified at his mistake.

RUFUS  
Oh, Jiya, I’m so sorry,   
I didn’t—

JIYA  
It’s okay.  
(stops his protest)  
No really, it is. I’ve had a lot of time to   
think about this, and all Flynn ever wanted   
to do was destroy Rittenhouse. Even if he   
couldn’t save his family, he could at least   
stop them. But he knew he couldn’t   
do it alone. And he knew we   
couldn’t do it without you. 

Jiya reaches up and gently holds Rufus face in her hands.

JIYA  
You’re the heart of this team, Rufus,   
and without you… we wouldn’t   
have been able to keep going. 

Rufus is overcome with emotion. He leans in and kisses Jiya with all of it. There is a gentle passion, a love unbreakable.

RUFUS  
I love you.

JIYA  
(intentional _Star Wars_ reference)  
I know. 

Rufus grins at her as the reference clicks in his head.

RUFUS  
So, that means we’re having a   
_Star Wars_ themed wedding, huh?

JIYA  
(mock disgusted)  
Ugh, way to ruin the moment.

RUFUS  
(Yoda voice)  
Why hurt me, you must? 

Off Jiya and Rufus as they hold each other, laughing… a bright future ahead of them, together…

END SCENE

INT – WYATT’S ROOM – BUNKER – DAY

Wyatt is standing next to his bed, reading something on his phone. 

On the door, which is ajar, as Lucy pokes her head in.

LUCY  
Can I come in?

WYATT  
Yeah, of course.  
Hey, listen to this. 

Wyatt reads from his phone as Lucy enters to stand next to him, reading over his shoulder.

WYATT  
Young-Hee died in 2007. She lived   
well into her 80s. Tae Woo's a retired   
investment banker in Seoul. Her daughter   
is a teacher, just like her mother.

LUCY  
History?

WYATT  
Political and Social Economics.

LUCY  
Sounds like a crazy,   
ordinary wonderful life.

WYATT  
Yeah, yeah it does. 

A soft wistful moment passes between them, Wyatt clears his throat.

WYATT  
Ah, you wanted something?

LUCY  
I never did answer   
your question, at the church.

WYATT  
(honesty)  
I was afraid of your answer.

LUCY  
Are you still afraid?

WYATT  
(softly)  
No. 

Lucy moves in and kisses Wyatt, something warm, gentle, and new. After ending the kiss, Wyatt looks a little dazed.

LUCY  
You have a lot to   
make up for.

WYATT  
(smirks)  
Yes, ma’am.

LUCY  
(grinning)  
I know exactly where   
you can start, _sweetheart_.

WYATT  
Do you now, _baby doll_?

The two of them laugh, wrapping their arms around each other and sharing a deep kiss that is a promise of more to come.

Off this moment of Lucy and Wyatt knowing that this time, together, they will get it right…

END SCENE

INT – BUNKER LOUNGE AREA – DAY

The whole team is gathered around, enjoying a celebratory/Christmas party. Lucy and Wyatt are tucked together on the sofa. Rufus is sitting in a chair with Jiya on his lap. Mason is standing while Agent Christopher is handing out the scarves she’s made while wearing an Ugly Christmas Sweater.

Everyone is trying not to laugh.

CHRISTOPHER  
(to Rufus and Jiya)  
These are for you.

RUFUS  
Great... thanks...

CHRISTOPHER  
(to Wyatt and Lucy)  
And these are for you.

LUCY  
Wow, um, you shouldn’t have.

WYATT  
You really shouldn’t have.

MASON  
(to Christopher)  
You look bloody ridiculous.

CHRISTOPHER  
My children compete to find me   
the ugliest Christmas sweater and   
Mark won. I wear it with pride. 

Everyone shares a good laugh, they have reason to celebrate.

After a moment, some weight comes to the situation.

RUFUS  
We stopped Rittenhouse.   
We saved history.  
Almost doesn’t seem   
real, does it? 

There is a general murmur of agreement.

CHRISTOPHER  
Everyone can go back   
to their lives.

LUCY  
It’s not over yet. 

Everyone looks to Lucy as she takes a determined and resolved breath.

LUCY  
In five years, we get   
another chance.   
To save Amy.  
(to Rufus)  
To save Anthony.  
(to Jiya)  
To save Flynn.  
(to Christopher)  
To save his family.  
(to Wyatt)  
And even save Jessica. 

Wyatt nods his appreciation. He may no longer be in love with Jessica, but he’s not going to just abandon her to Rittenhouse. Not when it’s his fault she’s there.

LUCY  
We can change the world, but   
not like Rittenhouse. Not because we   
think we know best. Or because we   
want to reshape it in our image.   
But to... 

Lucy stalls, unable to find the right words.

MASON  
Right back what was   
done wrong.

LUCY  
(nods)  
Yes.

CHRISTOPHER  
And how do you suppose   
you’re going to do that?

LUCY  
Together.

WYATT  
As a team.

RUFUS  
As a family. 

Camera pans around the team, all knowing that they still have one daunting task ahead of them, but they will see it through, and they will succeed... together...

END SCENE

END ACT III


	11. Part 2 - Act IV

**Notes for the Chapter:**

> Reminder that "Move Along" by All American Rejects is the song that will be used in the montage if you haven't had a chance to listen to it yet.

ACT IV

BLANK BLACK SCREEN

OVERLAY TEXT: DECEMBER 20, 2023

Scenes starts on blank, black screen as noises of a news broadcast can be heard.

PRODUCER  
Live in 5, 4, 3.... 

CUT TO:

INT – MORNING NEWS SET – MORNING

Black screen disappears to reveal a news anchor sitting in the casual interview location of the set. They smile at the camera.

ANCHOR  
Welcome back. It’s fifteen past the   
hour and I’m here with noted professor,   
author, and activist, Lucy Preston.   
(to Lucy)  
Welcome to the show. 

Wider shot to show Lucy sitting in the interview chair, smiling and at ease.

LUCY  
Thank you for having me.

ANCHOR  
Now, you are no stranger to   
authorship. You’ve written books on   
San Francisco, the Lincoln Assassination,   
and others that have been very well   
regarded in the historical   
community. But your   
latest book... 

The anchor picks a book up off from the table. The cover, while missing the character portraits, is uncannily similar to the _Timeless_ promo poster.

ANCHOR  
 _Timeless: How History Evolves_   
is more of a call to arms than   
a historical text.

LUCY  
Well, I wouldn’t go so far as to   
say a call to arms, but it is definitely   
meant to open people’s eyes to the   
crumbling infrastructure of historical   
education across the world and how   
we, as individuals, view the past.

ANCHOR  
I want to read a quote   
from the book.  
(looking off notes)  
 _“We cannot allow ourselves the  
luxury of presenting the past   
as an idyllic truth.”_  
Can you please elaborate   
on that for me?

LUCY  
We have this idea that the past   
is some fixed event. That something   
happens, we make note of it, and   
then move on. But the truth is…   
history is always changing.

ANCHOR  
How so?

LUCY  
Every time someone stops and   
asks why—why did this happen, why did   
it have to be this way—we start gaining a   
new understanding of those events. Our view   
of them change, and with that change, we   
can better ask ourselves what is the   
right side of history?   
And is that the right side   
for our future? 

Off this image of Lucy as the screen is literally paused.

Camera pull back to show someone is watching the interview on a phone. 

INT – SCHOOL HALLWAY IN CHICAGO – DAY

It is a typical high school hallway with lockers and banners and such. The decorations should be used to establish that that we are in Chicago, where Rufus grew up.

We see that it’s Jiya who was watching Lucy’s interview. She stopped the video because two pre-teen girls have walked up to her. They are a little shy but determined, notebooks in their hands.

YOUNG GIRL  
Can we have your autograph?

JIYA  
Of course! 

Jiya puts her phone away and starts to sign autographs.

On Rufus as he walks up, smiling at the scene. Once the girls leave, he gets closer and slides an arm around her.

RUFUS  
No one ever asks me   
for my autograph.

JIYA  
Hey, when we decided to   
take RiyaTech public, you were   
the one who wanted to remain   
mysterious and aloof.

RUFUS  
I’m married to a superhero, you   
gotta give me something. 

Jiya laughs at him, like it’s an old, but not outworn, joke.

PRINCIPAL  
(off camera)  
Mr. Carlin?

RUFUS  
Yes! Coming! 

Camera follows Rufus and Jiya as they walk through the classroom door into a science lab that looks swanky with all the latest tech. They meet up with an older black lady, the school principal.

RUFUS  
Man, if I had this all of this when   
I was a kid, I… I could have   
built a time machine. 

Jiya rolls her eyes lovingly at her dork.

PRINCIPAL   
As you can see, the grant money   
provided by RiyaTech has been   
put to very good use. 

Rufus gets distracted, playing with someone’s home-built capacitor.

PRINCIPAL  
This is a low-income area, many   
of these kids are at risk of joining   
gangs, or simply being ill-prepared   
for college or the job market.

RUFUS  
(playing with capacitor)  
Yeah, been there, done that.

PRINCIPAL  
Many students are already taking   
advantage of the afterschool programs.  
While we’ve been off for winter break,   
this lab has become something   
of a safe haven.

JIYA  
And the other part of the grant?

PRINCIPAL  
Used to provide updated history   
books and to make improvements to   
our library, as well as develop literacy   
programs. We can go to the library next.

JIYA  
Sounds good. 

Rufus rejoins Jiya and the Principal.

PRINCIPAL  
I can’t tell you how significant   
this has been for our students. It’s so   
difficult to find funding. So many believe   
these kids just aren’t important.

RUFUS  
Everyone is important.

PRINCIPAL  
Yes, they are. 

There is a moment of acknowledgement of this universal truth.

PRINCIPAL  
I know you have a few other   
schools to get to, but the science   
club is having a party on Saturday,   
if you’ll still be in town...? 

Rufus and Jiya glance at each other.

RUFUS  
Honestly, nothing sounds more   
fun than a bunch of science nerds   
and pizza, but we fly back to   
California on Friday.

JIYA  
We have a previous   
engagement. 

Off Rufus and Jiya who have had this appointment on the books for five years…

END SCENE

INT – BUNKER LAUNCH AREA – MORNING

OVERLAY TEXT: DECEMBER 24, 2023

Scene opens on Lucy as she is standing in the Launch Area, looking up at something. Camera switches to behind her as we see that the wall of the Launch Area has literally been wall-papered in history.

In echo to Nicholas’ mural, the wall is a roadmap into the past. 

Photos and sketches can be seen of historical figures they have visited: Lincoln, von Braun, James Bowie, Katherine Johnson, Bonnie & Clyde, Benedict Arnold, Houdini, Jesse James, Lindbergh, Al Capone, McCarthy, Wendell Scott, Hedy Lamar, Abby Franklin, Kennedy (young and old), Robert Johnson, and Harriet Tubman to name a few…

Dotted among them are those who have been lost: Amy, Anthony, Dave Baumgardner, Lorena and Iris Flynn, and of course, Garcia Flynn himself.

There are the villains: Carol, Benjamin Cahill, Jake Neville, various sleepers, and Emma.

And there are those unknowns in between, such as Stiv and Karl.

All these images are intertwined with sketches, pages from books, scribbled notes, and literal twine…

On Lucy who is thoughtful but determined. She has never been more clearly a Rittenhouse than in this moment, but she is going to right back everything her family has wronged.

Rufus walks up beside her, a little solemn looking, sipping on a cup of coffee.

RUFUS  
This will _probably_ work. 

Lucy turns her head to give him a look of “really, you’re going to say that, right now, on today of all days?” Rufus responds with a half grin.

RUFUS  
Nah, we got this. Between your   
research mojo and my coding skills,  
we've run all the variables and achieved   
a ninety-seven percent success rate.

LUCY  
I’d be lying if I said I wasn’t worried   
about that three percent.

RUFUS  
As long as it isn’t named Emma,   
I think we’re okay. 

Lucy can’t deny that. She looks back to the wall, her eyes landing on Flynn.

LUCY  
We weren’t able to   
fix everything.

RUFUS  
We tried. We just ran out of   
time to figure it out. Maybe our   
other selves will… do better. 

Lucy sighs, resigned to knowing she did her best, they all did. Rufus pulls a phone from his pocket. He passes it over to Lucy as he speaks.

RUFUS  
Oh, hey. You left this in the   
kitchen. It rang, I wasn’t going to   
answer it, but it was Derek.

LUCY  
What did he want?

RUFUS  
He wants you back for next   
season. I told him you’d do it.

LUCY  
(mirthful annoyance)  
Rufus! Last time I did _Drunk History_   
I was talking about the Lincoln   
Assassination. I kept slipping   
up and saying I and we.

RUFUS  
(laughing)  
Yeah, and it was _awesome_.   
I especially enjoyed the part where you   
described the “Prussian” assassin as   
flinging his dramatic ass over the   
railing an onto the stage. 

Lucy puts both hands on her face like she ain’t ever going to live that down.

WYATT  
(off screen) (playful)  
Haaaaaalp! 

Lucy and Rufus look over their shoulders to see what is going on, and they roll their eyes, but with love.

Wider POV as we see Wyatt laying on the floor being ‘attacked’ by a two-year-old boy, and losing.

WYATT  
(playful)  
I surrender!   
I surrender! 

Lucy walks over as Rufus wanders off in another direction. She laughs as she picks up the boy, thereby rescuing Wyatt. She smiles and kisses the boy’s forehead, Wyatt standing up next to her.

Wyatt watches them for a moment, happy, but then his features gain a worried tint.

WYATT  
I know this will   
work, but...

LUCY  
(quietly)  
I know.  
(looks to Wyatt)  
But we’ve been working on this   
for five years. I trust Rufus.   
I trust Flynn. I trust us. 

Wyatt nods, he trusts in Lucy. He gives her a soft, quick kiss, and then they stand there and take a moment with their son.

On Rufus as Jiya comes around the side of the Lifeboat.

JIYA  
Mason and I did a system check.   
We’re all ready to go.

RUFUS  
Good, good. 

Rufus watches Jiya as she looks up at the Lifeboat, doing one last visual check.

RUFUS  
(reluctant)  
Hey, Jiya, are you sure you want   
to come with us? I mean, if this works,   
you never get stuck in Chinatown. You’ll   
never… you’ll not remember going   
through all of that.

JIYA  
(resolved)  
I know, and I’ve thought a lot about it.   
But the truth is, these scars are who I am,   
who I’ve been for these past five years. And   
while I have no doubt we love each other in   
every timeline, we built a life together in this   
one, and I’m not letting Rittenhouse   
take that away from me. 

Rufus is so stupidly in love with Jiya. He pulls her in and kisses her, holds her, and they take a moment, together.

MASON  
(off screen)  
Right, you two.  
No more dawdling. 

Wider POV as Mason walks past.

MASON  
You’re almost out of time. 

On Lucy and Wyatt as Agent Christopher walks up.

CHRISTOPHER  
Here, let me take Sherwin.

LUCY  
(reluctant to let go)  
I don’t know how long we’ll be   
gone, but I should have packed   
everything you might need.

CHRISTOPHER  
(holding Sherwin)  
Don’t worry, we’re going to have   
a little party while mommy   
and daddy are away. 

Lucy and Wyatt get one last moment with their son before they have to go.

On Rufus as Mason holds his hand out to him.

MASON  
Godspeed, Rufus. 

Rufus takes his hand and they give each other a hug with a strong pat on the back.

On Lucy as she walks away from Christopher and Sherwin, her eyes not leaving Sherwin. Jiya gets in step with her.

JIYA  
Okay, so, we’ll land in an abandoned   
warehouse just down the street. Should   
have plenty of time to get in and get   
out. Do you need the map?

LUCY  
I have it memorized. 

Everyone is now at the bottom of the stairs.

RUFUS  
Alright… let’s go save   
history… again. 

The Team nods, they are ready, they’ve been ready. Rufus heads up first, followed by Jiya. Wyatt goes next and Lucy walks up last.

At the top of the stairs, Lucy pauses and looks down at Agent Christopher still holding Sherwin. Christopher gives her an encouraging smile as Sherwin waves at her.

Lucy smiles… this will work… and then she ducks inside.

VXF – LIFEBOAT HATCH CLOSES, WHEELS BEGIN TO TURN, LIFEBOAT BLINKS OUT

Camera pans and slowly darkens…

FADE OUT:

FADE IN:

INT – BAR IN SAO PAULO, BRASIL – NIGHT

OVERLAY TEXT: DECEMBER 24, 2014 – SAO PAULO, BRASIL

The bar is dingy, grimy, and full of smoke. It’s the kind of place that doesn’t care if one of their patrons is sitting at the bar with a half empty bottle of vodka and a 9mm hand gun in front of them.

On Flynn who looks rough, in almost every sense of the word. He has a few days worth of beard growth. His clothes are dirty and torn. His eyes are both red from the tears he’s ran out of and dark from the sleep he hasn’t gotten. 

He knocks back what is left of the vodka in his glass and slams it down next to the gun. 

Over shoulder POV as Flynn fiddles with his wedding ring, twisting it around and around on his finger. He’s looking at the gun and considering joining his girls in oblivion. 

Not quite there yet, he reaches for the vodka bottle and starts to pour himself a third glass.

Profile POV on Flynn, we see a familiar figure approach.

Lucy sits down on the barstool next to Flynn, placing something on the bar in front of her. She’s waited over five years to see him again, and she’s had all that time to think about what she was going to say.

LUCY  
The things we would do to have   
one more minute, one more second,   
with the people we love. 

On Flynn who, upon hearing this, completely changes his demeanor. He’s suspicious and cautious.

FLYNN  
Who are you?

LUCY  
I’m Lucy. 

Flynn is watching her, studying her, realizing that there is some kind of strange familiarity between them even though they have never met… or so he thinks…

FLYNN  
(cautiously)  
Why are you here?

LUCY  
I’m here for you. 

Flynn gets a little overwhelmed at this, not sure why, and looks away, grabbing his drink.

FLYNN  
Whatever three letter agency   
you’re from, you can go right back   
to it. No one can help me. 

Lucy gives him a moment, being patient with him even though she is running out of time.

LUCY  
Your half-brother, Gabriel, he doesn’t   
believe you murdered your family. 

Flynn looks sharply at her, defensive of the only family he has left.

LUCY  
You saved him, you know? During the   
moon landing. No one knew he was allergic   
to bees. And your mother... she never said it   
out loud, but she blamed herself. You could   
always see that sadness in her eyes. A   
sadness you wanted to take away.  
The same sadness I see in you. 

Flynn is now a mess of memories. Putting together everything he knows about his half-brother’s near-death experience, how his mother would never have forgiven herself if the tall, foreign stranger hadn’t been there… at just the right time... happening to have epinephrine…

FLYNN  
(curses in Croatian)  
He did it.  
(incredible laugh)  
Connor Mason built a   
time machine

LUCY  
Yes, he did.  
(touch of mirth)  
And you stole it.

FLYNN  
Sounds about right.  
(suddenly hopefully)  
That means Iris, Lorena…

LUCY  
(softly, remorseful)  
I’m sorry. We haven’t gotten them   
back, not yet. But we’re going to try   
again. We are going to save them. 

Despite her assurances, Flynn looks devastated over this news. But then something she said…

FLYNN  
We?

LUCY  
(nods)

FLYNN  
You’re from the future, aren’t you.   
That’s how you… know me.

LUCY  
(touch wistful)  
I know everything about you. 

Flynn can’t help a small grin of appreciation as that sounded like something he would say. Then he realizes it was something he probably did say.

FLYNN  
Who are you? 

He wants to really ask ‘what are you to me?’

LUCY  
I told you. I’m Lucy. 

She smiles at him, it is warm and familiar. It’s enough.

FLYNN  
(clears throat)  
Okay, so... we steal   
a time machine...

LUCY  
No, you steal a time machine.   
We won’t meet again for almost  
two years. And when we do, I   
won’t know you. 

Lucy looks down, she’s sorry she has to do this, but there is no other way.

LUCY  
I won’t lie to you.   
Things will get worse before   
they get better.

FLYNN  
(quietly)  
But they will get better...

LUCY  
Yes... 

They meet each other’s eyes and find strength in both. Lucy pushes the object she sat down on the bar towards him. We know it’s the journal but we don’t quite see it yet.

LUCY  
Take this, it will be your guide.   
A mutual friend of ours helped me   
to get it right this time.

FLYNN  
Do I know this friend?

LUCY  
No, but you will. And you   
make a very poor first impression.

FLYNN  
(chuckles despite himself)  
I’ve been told that’s   
a particular talent I have. 

Lucy softly laughs, she knows this all too well. She then reaches up to pull a locket out from under her blouse. Slipping it over her head she takes one last moment to look at it, knowing what’s inside.

LUCY  
I lost my sister, to time.  
My current self… she doesn’t   
remember her. 

Lucy takes Flynn’s hand and places the locket in it, closing his fingers over it.

LUCY  
You’re going to have to convince   
me she’s real, and she’s   
worth fighting for.

FLYNN  
(looking at their hands)  
How am I supposed to do that?

LUCY  
I trust you, Garcia Flynn.  
I will _always_ trust you. 

Flynn looks up at her to see the truth in her eyes.

SFX – HIGH PITCHED RINGING

Lucy starts to get a headache, the first sign of the perils of traveling on her own timeline. She almost doubles over as she grasps her head but Flynn catches her by the shoulders.

FLYNN  
Are you okay?

LUCY  
I’ll be okay.  
(clears throat, recovers)  
But I have to go now. 

Flynn lets go of her, almost reluctantly, as if Lucy is the personification of hope.

LUCY  
I promise you somehow, someway,   
we will save the people we love. We   
just can't lose hope, so what do you do   
when you find hope? You lock it   
down, shove it in a box...

FLYNN  
And never let go. 

The beginning chords of _Move Along_ by All American Rejects starts to play, quietly, under the scene. It’s a fast, hopeful beat.

FLYNN  
I told you about that? 

Lucy nods that yes, he told her this, and many other things. If Flynn had any doubts left about Lucy, they are now gone. Lucy then moves forward and gives him a kiss on the cheek. Flynn is near stunned by the intimate gesture.

As she pulls back she takes the opportunity to stand, ready to leave. The music gets louder as the beat gets faster, more dynamic... and Lucy starts to grin. She’s hopeful, she trusts Flynn, and she knows they are going to get shit done and save everyone this time.

LUCY  
We’re going to make   
quite the team. 

Lucy turns and leaves, Flynn watching her go, still processing everything. She glances back at him as she hits the door. She gives him a subtle look and he responds with a nod.

Flynn turns back to the bar as the lyrics start up.

_**Go ahead as you waste your days with thinking** _

Flynn pushes the gun to the side as he grabs the journal and puts it in front of him.

_**When you fall, everyone stands** _

This... isn’t the journal we know. It’s light brown with the initials L.P. branded onto the cover.

_**Another day, and you've had your fill of sinking** _

Flynn opens it, the Mothership and the Lifeboat sketched on either page.

_**With the life held in your** _

CUT TO: DELETED “PILOT” SCENE

_**Hands are shaking cold** _

Flynn is standing in front of a mirror, clipping on his fake Mason Industries badge. He knows he has a long road ahead of him.

_**These hands are meant to hold**_

His hands are trembling...

_**Speak to me** _

CUT TO: FLYNN PULLING A GUN ON ANTHONY IN “PILOT”

_**When all you got to keep is strong** _

CUT TO: LUCY AND WYATT MEETING IN “PILOT”

_**Move along, move along like I know you do** _

CUT TO: TEAM WALKING UP TO THE LIFEBOAT, MEETING RUFUS IN “PILOT”

_**And even when your hope is gone** _

CUT TO: LUCY AND FLYNN STANDING IN FRONT OF THE BURNING WRECKAGE IN “PILOT”

_**Move along, move along just to make it through** _

CUT TO: UPDATED SCENE FROM “PILOT”

Tight shot of Flynn opening the journal to show Lucy, just like before, only this is the new journal she gave him in São Paulo. It talks about Amy, the sister this Lucy doesn’t remember. Lucy’s locket hangs down the center.

_**Move along** _

CUT TO: UPDATED SCENE FROM “PILOT”

The scene where Lucy is upset about losing Amy, but new dialogue is placed over it as she looks at the photo of her, Amy, and Carol.

LUCY  
I don’t have a sister!  
Where’s Noah? 

_**Move along** _

CUT TO: LUCY AND FLYNN IN THE TRAIN STATION IN “LINCOLN”

FLYNN  
I’m not trying to destroy America! 

CUT TO: FLYNN BURSTING INTO LINCOLN’S BOX AND SEEING LUCY IN “LINCOLN”

FLYNN  
(V.O. scene)  
I’m trying to save it! 

_**…[song continues to play a quick beat]...** _

CUT TO: UPDATED SCENE FROM “ATOMIC CITY”

Scene of Lucy, Rufus, and Wyatt loading into the Lifeboat. Lucy has new dialogue played over Wyatt and Rufus looking at each other to cover the change.

LUCY  
Noah’s happily married   
and doesn’t even remember me. 

_**So a day when you've lost yourself completely** _

CUT TO: SCENE OF RUFUS CONFRONTING ANTHONY IN THE BAR IN “ATOMIC CITY”

_**Could be a night when your life ends** _

CUT TO: “OVER THE HUMP SCENE” OF LUCY AND WYATT IN “CASTLE VARLAR”

LUCY  
Thank you for talking.

WYATT  
Sure thing, ma’am. 

_**Such a heart that will lead you to deceiving** _

CUT TO: LUCY AND FLYNN STARE DOWN IN “CASTLE VARLAR”

_**All the pain held in your** _

CUT TO: LUCY AND WYATT AT THE “ALAMO” FINAL BATTLE

WYATT  
Let me do one good thing. 

_**Hands are shaking cold** _

CUT TO: LUCY AND WYATT AT THE “ALAMO” FINAL BATTLE

LUCY  
I need you. 

_**Your hands are mine to hold** _

CUT TO: LUCY AND CAROL ON THE SOFA IN “ALAMO”, SHE GIVES HER CAHILL’S NAME

_**Speak to me** _

CUT TO: BENJAMIN CAHILL ANSWERS THE DOOR IN “WATERGATE TAPE”

_**When all you got to keep is strong** _

CUT TO: UPDATED SCENE FROM “WATERGATE TAPE”

Flynn has Wyatt captured and tied to a chair. Hold on Wyatt looking skeptical and almost angry to cover the dialogue change.

FLYNN  
Ask your estranged wife  
about Rittenhouse. 

_**Move along, move along like I know you do** _

CUT TO: RUFUS AND MASON IN THE CAR WITH CAHILL IN “WATERGATE TAPE”

_**And even when your hope is gone** _

CUT TO: FLYNN AT LORENA AND IRIS GRAVE IN “WATERGATE TAPE”

_**Move along, move along just to make it through** _

CUT TO: JIYA GUIDING THE LIFEBOAT TO LAND IN “STRANDED”

_**Move along** _

CUT TO: JIYA KISSING RUFUS AT THE END OF “STRANDED”

_**(Go on, go on, go on, go on)** _

CUT TO: END SCENE OF “SPACE RACE” BETWEEN LUCY AND RUFUS

RUFUS  
Lucy. What am I becoming? 

_**When everything is wrong, we move along** _

CUT TO: CONTINUE SCENE, LUCY AND RUFUS HOLDING HANDS IN “SPACE RACE”

_**(Go on, go on, go on, go on)** _

CUT TO: SCENE IN BONNIE & CLYDE WHERE RUFUS SEES FLYNN WHO GIVES HIM A SMUG GRIN

_**When everything is wrong, we move aloooooooong…** _

CUT TO: LUCY AND WYATT KISS IN “BONNIE & CLYDE”

_**aloooooooong…** _

CUT TO: UPDATED “BONNIE & CLYDE” SCENE

Lucy and Wyatt laying in the bed, hold on Wyatt to cover new dialogue from Lucy.

LUCY  
Maybe I’m not who Noah is   
meant to be with. 

_**aloooooooong…** _

CUT TO: RUFUS AND JIYA PLAYING GAMES AND BEING ADORABLE IN “ARNOLD”

_**aloooooooong…** _

CUT TO: RUFUS AND MASON IN JIYA’S APARTMENT IN “ARNOLD”

MASON  
I didn’t mean to get you  
into this so deeply. 

_**aloooooooong…** _

CUT TO: FLYNN HOLDING A GUN ON THE TEAM IN “ARNOLD”

FLYNN  
I need your help. 

CUT TO: TEAM RUNNING AWAY AS THEY ‘DEFECT’ IN “ARNOLD”

_**aloooooooong…** _

CUT TO: FLYNN AND LUCY TALKING AT THE HORSES IN “ARNOLD”

FLYNN  
The journal did say something about  
you and me working together.

LUCY  
Don’t push your luck. 

_**(beat slows down)  
When all you got to keep is strong** _

CU TO: FLYNN STRUGGLING WITH THE IDEA OF KILLING JOHN RITTENHOUSE IN “ARNOLD”

_**Move along, move along like I know you do** _

CUT TO: LUCY BEING DRAGGED TO THE MOTHERSHIP IN “ARNOLD”

LUCY  
(V.O. dialogue that bleeds over   
into the next scene)  
You used to care about people.  
You used to be good. 

CUT TO: FLYNN SMILING AT LUCY WHO IS EXCITED ABOUT HOUDINI IN “COLUMBIAN”

_**And even when your hope is gone** _

CUT TO: LUCY BEING AFRAID AND HOUDINI REACHING OUT TO HER IN “COLUMBIAN”

_**Move along, move along just to make it through** _

CUT TO: LUCY HUGGING WYATT AND RUFUS AFTER SHE FINDS THEM IN “COLUMBIAN”

_**(beat picks back up)  
When all you got to keep is strong** _

CUT TO: UPDATED SCENE FROM “JESSE JAMES”

Wyatt sitting at the bar with Rufus. Hold on Rufus or long shots to cover dialogue change.

WYATT  
Jess wants to get  
back together. 

_**Move along, move along like I know you do** _

CONTINUE SCENE:

WYATT  
I think she’s Rittenhouse. 

_**And even when your hope is gone** _

CUT TO: NEW SCENE

Jessica is at the end of an alley. She’s turned and pointed the gun at someone chasing her. Stay on this shot.

WYATT  
(off camera)  
Jessica! 

Jessica shakes her head at him, she’s made her choice. She flees around the corner.

_**Move along, move along just to make it through** _

CUT TO: JIYA WATCHING THE VIDEO OF EMMA IN “JESSE JAMES”

_**Just to make it through** _

CUT TO: SCENE IN “LOST GENERATION” WITH LUCY AND CAHILL

CAHILL  
Rittenhouse isn’t a   
choice. It’s blood. 

_**When all you got to keep is strong** _

CUT TO: RUFUS HOLDING JIYA IN “RED SCARE” AS SHE’S UNCONCIOUS

RUFUS  
You promise to hang on… 

_**Move along, move along like I know you do** _

CONTINUE SCENE FROM “RED SCARE”

RUFUS  
and I promise to stop   
holding back. 

_**Know you do** _

CUT TO: LUCY AND WYATT MEETING YOUNG ETHAN CAHILL IN “RED SCARE”

_**And even when your hope is gone** _

CUT TO: LUCY GETTING IN THE WAY OF WYATT AND FLYNN IN “RED SCARE”

FLYNN  
I prayed to God for answers. 

_**Move along, move along just to make it through** _

CONTINUE FROM “RED SCARE”

LUCY  
What if he led you to me? 

_**Move along** _

CUT TO: FLYNN GETTING DRAGGED AWAY TOWARDS END OF “RED SCARE”

FLYNN  
I trusted you, Lucy! 

_**(Go on, go on, go on, go on)** _

CUT TO: LUCY AND CAROL AT THE END OF “RED SCARE”

CAROL  
You have such   
an incredible future. 

_**(repeat section of the song)  
When everything is wrong, we move along** _

CONTINUE SCENE FROM “RED SCARE”

CAROL  
(dialogue bleeds over into   
the next scene)  
Together we will change history. 

_**(Go on, go on, go on, go on)** _

CUT TO: LUCY GETTING READ TO JUMP WITH CAROL IN ‘WAR TO END ALL WARS’

_**When everything is wrong, we move aloooooooong…** _

CUT TO: NEW SCENE

Christopher, Wyatt, Rufus, and Jiya are standing about the kitchen table in the Bunker dressed in normal clothing.

CHRISTOPHER  
Cahill is out of prison and Rittenhouse   
got ahold of the Mothership. 

_**aloooooooong…** _

CONTINUE NEW SCENE:

CHRISTOPHER  
They had a mole in Mason Industries.

RUFUS AND JIYA  
(looking at each other)  
Jan! 

_**aloooooooong…** _

CUT TO: LUCY FINDING WYATT AND RUFUS IN THE TENT IN “WAR TO END ALL WARS”

_**aloooooooong…** _

CUT TO: THE TEAM TALKING AT THE END OF “WAR TO END ALL WARS”

RUFUS  
Key moments in history to  
change the present. 

_**aloooooooong…** _

CUT TO: NICHOLAS WAKING UP IN “WAR TO END ALL WARS”

CAROL  
I’m your granddaughter. 

_**aloooooooong…** _

CUT TO: FLYNN IN PRISION IN “WAR TO END ALL WARS”

FLYNN  
I’ll only talk to Lucy. 

_**(beat slows down)  
When all you got to keep is strong** _

CUT TO: NEW SCENE

Shot of the journal on the Bunker kitchen table. It’s open to the end. The page is blank except for December 24th, 2023 written in neat handwriting with a circle around it. The other side is not in complete focus, but keen observers would see mention of Pandora’s Jar. Lucy urging Flynn to never give up, no matter what happens.

LUCY  
(off camera)  
That’s the day I go back. 

_**Move along, move along like I know you do** _

CONTINUE SCENE ABOVE:

On Lucy as she stands around the kitchen table with Rufus and Wyatt.

RUFUS  
That’s the day you   
get overwritten. 

_**And even when your hope is gone** _

CONTINUE SCENE ABOVE:

WYATT  
All of us. We won’t let   
you do this alone. 

_**Move along, move along just to make it through** _

CONTINUE SCENE ABOVE:

LUCY  
Unless we go back and do   
this all over again. 

_**(beat picks back up)  
When all you got to keep is strong** _

CUT TO: RUFUS AND WENDELL OPENING THE TRUNK TO FIND LUCY AND WYATT IN “DARLINGTON”

_**Move along, move along like I know you do** _

CUT TO: WYATT, LUCY, AND RUFUS GETTING AWAY IN “DARLINGTON”

_**And even when your hope is gone** _

CUT TO: LUCY AND WYATT AT THE POOL IN “HOLLYWOODLAND”

WYATT  
You know why I took  
this assignment? 

_**Move along, move along just to make it through** _

CUT TO: LUCY AND WYATT KISSING IN “HOLLYWOODLAND”

WYATT  
(V.O. scene)  
Because it was dangerous. 

_**Just to make it through** _

CUT TO: FLYNN ARRIVING AT THE BUNKER IN “HOLLYWOODLAND”

_**When all you got to keep is strong** _

CUT TO: JIYA AND RUFUS IN “SALEM”

JIYA  
These visions are real. 

_**Move along, move along like I know you do** _

CUT TO: FLYNN NODDING TO LUCY THAT SHE CAN TRUST HIM IN “SALEM”

_**Know you do** _

CUT TO: LUCY GIVING FLYNN THE NOD TO ROUGH UP JOSEPH POPE IN “SALEM”

_**And even when your hope is gone** _

CUT TO: RUFUS AND JIYA TALKING AT THE END OF “SALEM”

JIYA  
I'm not gonna apologize for   
telling you the truth. 

_**Move along, move along just to make it through** _

CUT TO: NEW SCENE

Lucy and Wyatt are in their room. Wyatt’s jealousness and overprotectiveness is showing. Lucy isn’t having any of it.

LUCY  
Hey, you know I’m   
with you, right? 

_**(repeat section of the song)  
…[song continues to play a quick beat]... ** _

CUT TO: NEW SCENE

Lucy is being held hostage by some unknown goon, in echo to the scene in “Kennedy Curse”. It’s tight, up close shots, to hide this was reshot in a random hallway.

_**So a day when you've lost yourself completely** _

CUT TO: SCENE OF MASON AND RUFUS IN “DELTA BLUES”

MASON  
Fanboys don’t save   
the world, Rufus. 

_**Could be a night when your life ends** _

CONTINUE SCENE ABOVE:

RUFUS  
I was your fanboy. 

_**Such a heart that will lead you to deceiving** _

CUT TO: SCENE OF LUCY AND FLYNN LISTENING TO THE MUSIC IN “DELTA BLUES”

_**All the pain held in your** _

CUT TO: SCENE OF RUFUS AND JIYA AT END OF “DELTA BLUES”

JIYA  
You died. 

_**Hands are shaking cold** _

CUT TO: SCENE OF RUFUS AND JIYA IN “MRS. SHERLOCK HOLMES”

RUFUS  
None of this has to happen.  
None of this is set in stone. 

_**Your hands are mine to hold** _

CONTINUE SCENE FROM ABOVE:

JIYA  
I wish that were true. 

_**Speak to me** _

CUT TO: FLYNN HELPING RUFUS UP DURING THE MARCH IN “MRS. SHERLOCK HOLMES”

_**When all you got to keep is strong** _

CUT TO: LUCY AND JIYA SHOWING YOUNG CHRISTOPHER HER FUTURE IN “REAGAN”

_**Move along, move along like I know you do** _

CONTINUE SCENE FROM ABOVE:

_**And even when your hope is gone** _

CUT TO: FLYNN AND CHRISTOPHER IN “REAGAN”

FLYNN  
One minute, one second. 

_**Move along, move along just to make it through** _

CUT TO: CHRISTOPHER GOING TO HER FAMILY IN “REAGAN”

_**Move along** _

CONTINUE SCENE FROM ABOVE:

_**(Go on, go on, go on, go on)** _

CUT TO: LUCY AND FLYNN AT THE END OF “REAGAN”

FLYNN  
I was on my third drink. 

_**When everything is wrong, we move along** _

CONTINUE SCENE FROM ABOVE:

FLYNN  
That’s when you handed   
me the journal. 

_**(Go on, go on, go on, go on)** _

CONTINUE SCENE FROM ABOVE:

FLYNN  
You started all of this. 

_**When everything is wrong, we move aloooooooong…** _

CUT TO: NEW SCENE

Rufus and Jiya are in their room. Rufus is holding Jiya close and whispering to her.

RUFUS  
I’m not going anywhere. 

_**aloooooooong…** _

CUT TO: UPDATED SCENE

Alternate scene from Lucy and Wyatt tied up in 1848. Wyatt is untying Lucy, but they are obviously in the middle of an argument.

LUCY  
(angry – frustrated)  
If you won’t help yourself then  
I can’t do this anymore. 

_**aloooooooong…** _

CUT TO: NEW SCENE

Wyatt grabs a bottle of beer from the fridge, he’s angry and agitated. But just as he’s about to take a drink, he looks at the bottle and realizes what he’s doing, what he always does…

_**aloooooooong…** _

CUT TO: NEW SCENE

Wyatt is standing with Agent Christopher in the kitchen. He’s looking lost, like he’s finally hit bottom and realized he’s there by his own hand.

WYATT  
I... I need help. 

Christopher takes his arm gently and leads him out of frame.

_**aloooooooong…** _

CUT TO: UPDATED SCENE

Lucy, Wyatt, Rufus, and Jiya are standing near the lifeboat in the 70s clothing we saw before. This is the mission before Korea which shows the audience seven months have passed.

LUCY  
I know a way to end this.

WYATT  
How? 

_**aloooooooong…** _

CONTINUE SCENE FROM ABOVE:

Lucy gets that backed into a corner, determined look in her eye.

LUCY  
I take what’s rightfully mine. 

_**(beat slows down)  
When all you got to keep is strong** _

CUT TO: NEW SCENE

Lucy is standing in the Rittenhouse office from before. She is facing off against Cahill.

LUCY  
I _am_ Rittenhouse.  
This all belongs to me. 

_**Move along, move along like I know you do** _

CONTINUE SCENE FROM ABOVE:

CAHILL  
(pleased)  
I’m glad you’ve finally   
accepted your birthright. 

_**And even when your hope is gone** _

CONTINUE SCENE FROM ABOVE:

LUCY  
Yes.  
(dark – determined)  
And I am going to _burn_  
it to the ground. 

_**Move along, move along just to make it through** _

CONTINUE SCENE FROM ABOVE:

Christopher and Homeland agents are suddenly there, pulling away Cahill who is stunned. Lucy shows no love or remorse for him.

_**(beat picks back up)  
When all you got to keep is strong** _

CUT TO: SCENES OF THE CHRISTMAS/CELEBRATION PARTY, NO WIDE SHOTS

_**Move along, move along like I know you do** _

CUT TO: NEW SCENE

Continuation of the new scene earlier in the montage where Lucy, Wyatt, and Rufus are in the kitchen, looking at the journal, and discussing closing the loop.

RUFUS  
Do we close the loop? 

_**Know you do** _

CONTINUE FROM ABOVE:

WYATT  
You know what that means. 

_**And even when your hope is gone** _

CONTIUE FROM ABOVE:

LUCY  
We make that   
decision together. 

_**Move along, move along just to make it through** _

CONTINUE FROM ABOVE:

WYATT  
As a team. 

_**Move along** _

CONTINUE FROM ABOVE:

RUFUS  
As a family. 

_**(Go on, go on, go on, go on)** _

CUT TO: NEW SCENE

Overhead shot showing just Lucy’s hand as the rest of the team reaches out and places theirs over each other’s. Eight hands in total, making a pack to close the loop and keep Rittenhouse from getting another chance to win.

LUCY  
(V.O.)  
We can’t stop living  
our lives. 

_**Right back what is wrong  
We move along** _

CUT TO: NEW SCENE

Shot of the Lifeboat and Mothership sitting in the Launch Area. The lights of the Bunker are being turned off leaving just the soft glow of the emergency lights.

_**(Go on, go on, go on, go on)** _

CUT TO: NEW SCENE

Rufus is sitting at a desk while Mason hovers a bit. It looks like a really thrown together office of a start up business. Papers and random stuff everywhere.

_**Right back what is wrong  
We move along** _

CUT TO: NEW SCENE

Close up shot of Lorena and Iris’ grave stone. Someone is placing a bushel of irises and lavenders in front of it.

_**(Go on, go on, go on, go on)** _

CUT TO: NEW SCENE

Camera pans across as Wyatt is sitting and listening at some kind of support meeting.

_**Right back what is wrong  
We move along** _

CUT TO: NEW SCENE

Tight shot of Rufus and Jiya. Rufus looks to be wearing Jedi robes and Jiya is in a blue Starfleet uniform with a matching black veil. They are kissing each other for the first time as husband and wife.

_**(Go on, go on, go on, go on)** _

CUT TO: NEW SCENE

Image of a news conference that Jiya is giving. “RiyaTech goes public with cutting edge technology” is the news headline.

_**Right back what is wrong  
We move along** _

CUT TO: NEW SCENE

Lucy is in a vintage looking wedding dress, Wyatt in a tux. They are kissing and tugging at their clothes, this is clearly their wedding night.

Camera pans away as the song fades off, the screen going black.

END MONTAGE

END SCENE

END ACT IV


	12. Part 2 - Tag

**Notes for the Chapter:**

> Thank you for reading my Timeless "The Miracle of Christmas" edit. I know a lot of people, myself included, were upset and disappointed by several aspects of the movie that were poorly handled. This Redux was my way of reclaiming my love for the show. I know the Redux isn't perfect, it's not what I would have done if given a blank slate, but at least I can slide this version over the original. And by doing so I replace one with the other and make everything hurt less. If this can help you as well, then please, take what you need.
> 
> And now I give you an Easter Miracle...

**PART 2 – TAG**

INT – BUNKER LAUNCH AREA – DAY

OVERLAY TEXT: DECEMBER 24, 2023

Camera is still and fixed on the spot where the Lifeboat sets. Hold this shot for a few seconds, just long enough for everyone to question what is happening, did something go wrong?

VFX – LIFEBOAT BLINKS INTO EXISTENCE, RINGS POWER DOWN

Someone is pushing the stairs towards the Lifeboat, we don’t see who. The hatch opens up and Lucy is the first one to exit. She pauses and stares down the stairs as if her heart has stopped.

Lucy POV down the stairs to see her sister, Amy, who smiles.

AMY  
Welcome back, big sis.

LUCY  
Amy! 

Lucy rushes down the steps like a whirlwind and latches onto Amy. The rest exit behind her.

LUCY  
Amy!  
Oh my god, Amy! 

In a moment reminiscent of Lucy finding Carol not sick in the “Pilot,” she holds onto Amy and hugs her tight.

AMY  
Yep, can’t breathe. 

Lucy chokes back a laugh, then her eyes pop open.

LUCY  
Sherwin!

CHRISTOPHER  
(off camera)  
Right here. 

Wider view as Christopher comes into frame holding Sherwin. Wyatt is there and takes him from Christopher. Lucy looks as if she doesn’t have enough arms to hold everyone and crush them to her.

On Rufus and Jiya who are standing off to the side of the Lifeboat. They are smiling and happy for their friends. Then, like a goddamn six-foot-four ninja, Flynn appears behind them.

FLYNN  
They have a  
lot to catch up on. 

Rufus and Jiya startle, letting out a yelp.

JIYA  
Flynn! 

Rufus slaps him on the shoulder happily as Jiya proceeds to wrap her arms around Flynn from the side, hugging him. Flynn looks at her like ‘yeah, okay, this is new.’ She doesn’t let go until otherwise noted.

RUFUS  
Man, it is so good to  
see you alive!

FLYNN  
Yeah, I got your message.  
Took me a bit to figure it out.  
Could you two have been  
any more cryptic? 

RUFUS  
We had to make sure we  
could control the variables.  
Speaking of, Anthony??

FLYNN  
At CERN, couldn't get back due  
to the weather. You’re supposed  
to call him right away.

RUFUS  
(air fist pump)  
Yes! 

Flynn looks down at Jiya yet who still hasn’t let go and he’s a bit confused as he doesn’t know the full story of his death in the other timeline. Or how much it affected Jiya.

RUFUS  
What about Emma?

FLYNN  
Oh, well, that was clear. Lucy said  
what she did. Emma’s still stuck in the  
1880’s wilderness where Anthony  
left her, so far as I know.

RUFUS  
Good, she can stay there. 

Flynn gestures to Jiya as if asking Rufus ‘are you going to help me out here or...?’ Rufus ignores him, seeing Mason walking in.

RUFUS  
(walking towards Mason)  
Hey, Connor! 

Rufus walks off frame and Flynn is left with Jiya who hasn’t budged.

FLYNN  
Are you... gonna let go?

JIYA  
(mumbling)  
Trees don’t talk. 

Flynn gives a look of ‘welp, I guess this is my life now,’ but also, it feels good to be thought of, and cared about.

On Rufus as he greets Mason with a hug similar to the one he gave the man before he left.

MASON  
You pulled it off, not that  
I had any doubts.

RUFUS  
Thanks. Hey, sorry about  
your company though. We... 

MASON  
I understand. And besides, it was  
infected with Rittenhouse. It felt good  
to cut it out, you know, after  
I wallowed for a bit. 

The two chuckle at that.

RUFUS  
You still working with Jiya  
and me, at RiyaTech?

MASON  
I wouldn’t have it  
any other way. 

The two go in for another hug, like father and son.

On Wyatt as he’s talking to Christopher.

CHRISTOPHER  
You gave her more chances to  
turn herself in than she probably  
deserved, but, in the end, Jessica  
chose Rittenhouse. 

Wyatt nods, figuring as much, it’s what they calculated for, but he knew Jessica being Rittenhouse was his fault and he wanted to give her a chance.

WYATT  
Where’s she being held?

CHRISTOPHER  
She’s not. She’s one of a handful  
or so agents we just couldn’t  
seem to pin down.

WYATT  
(worried)  
We didn’t get all of them?

CHRISTOPHER  
Relax. We got the Mothership back  
and took out their leadership, all their  
resources. Even if they wanted to rebuild,  
there’s nothing for them to rebuild with.  
Jessica’s probably hiding out on a beach  
somewhere, just trying to avoid  
getting arrested. 

Off Wyatt who is glad to hear that whatever’s left of Rittenhouse doesn’t pose a threat, but something in his gut is troubling him.

On Lucy and Amy as they sit on the sofa with Sherwin.

AMY  
It was... difficult.  
One day your sister forgetting  
you ever existed.

LUCY  
I’m so sorry.

AMY  
Hey, don’t be. All things  
considered, that was the  
least of my issues.

LUCY  
What happened?  
With mom?

AMY  
She tried to control you,  
like usual. But, in your heart,  
you knew better.

LUCY  
You didn’t suffer any  
repercussions, did you?  
After the first big blow  
to Rittenhouse?

AMY  
Nah. I may be Rittenhouse,  
but I'm a half-blood. No one cared.  
You're the only one in the family who  
ever treated me like I belonged  
in it. Well, you and dad. 

Lucy takes Amy’s hand and gives it a squeeze.

AMY  
Anyway, when everything  
went down, Agent Christopher  
got me out. Spent the rest of  
it hiding out in Phoenix.

LUCY  
I’m sorry you had to go  
through all that.

AMY  
You saved me from a literal  
non-existence, sis. I think that’s  
good for... three week's worth  
of me not annoying the  
hell out of you.

LUCY  
(mirthful)  
Oh, only three?

AMY  
(grinning)  
Maybe four. 

The two laugh and generally bask in the realization that they are both together again.

Lucy spots something over Amy’s shoulder.

LUCY  
We have a lot of notes  
to compare, but can you  
give me a minute? 

Amy glances over her shoulder, then nods knowingly.

AMY  
Of course. 

Amy grabs Sherwin to play with him as Lucy stands up and exits frame.

On Flynn as Lucy walks up to him, this is framed in profile, similar to their discussion in “REAGAN.” 

Quick cut on hands as Flynn gives Lucy the new journal, her locket resting on top of it.

LUCY  
You gave me my sister back.  
Thank you seems like  
too small a word. 

FLYNN  
Us and our awkward moments.  
(soft chuckle)  
Besides, you were right.  
We made quite the team. 

Lucy returns the smile and chuckle, wondering just was different, and what stayed the same after the Combahee River Raid.

LUCY  
(suddenly hopeful)  
Your wife and daughter? 

Any mirth in Flynn drains out and he swallows hard.

FLYNN  
No...

LUCY  
But... you closed  
the loop... 

Flynn looks regretful, but resolved, as if this wound has been scabbed over for five years.

FLYNN  
Zero Sum.  
I can get them back, or  
I can destroy Rittenhouse. 

LUCY  
We came to the same  
conclusion. We... we hoped our  
other selves could find a way.  
One that we couldn’t  
see on our end.

FLYNN  
I accept that I made the  
right choice. I can only hope  
they’ll forgive me. 

There are tears threatening to spill forth in their eyes. Lucy reaches forward and takes his hand, giving it a firm squeeze even as it trembles.

LUCY  
We’ll keep looking for a way.  
We won’t give up hope.

FLYNN  
I won’t. I trust you, Lucy.  
I’ll always trust you. 

On their hands as Lucy silently promises to keep her word... they will save his family, somehow, someway…

Camera pans out of this scene...

CUT TO:

Lucy is standing in front of the Lifeboat, looking up at it. Wyatt and Rufus stand to flank her.

RUFUS  
You ever think what  
a history book is gonna say  
about us, about this moment, a  
hundred years from now?

WYATT  
You’re assuming the  
government will ever let  
this be public knowledge?

RUFUS  
It’ll happen one day.

LUCY  
It will, and I think...  
I think they will say we were on  
the right side of history. 

They all agree… on this day they righted back a terrible wrong...

Change POV as the Team turns around to walk forward, the Lifeboat behind them.

RUFUS  
You think they’ll make  
a movie about us? 

Off image of the team having a good laugh about that as they walk into the camera…

FADE OUT:

Four Second hold on blank, black screen.

FADE IN:

INT – CABIN – NIGHT

Camera on bottom of a door to a log cabin as it opens up. Someone with booted feet slowly walks in.

Stock footage from “Jesse James” shows us that we’re in Emma’s cabin in 1882. Wait, what?

Tight on our interloper who has their cowboy hat tilted down so we can’t see their face. The framing is tight to conceal this is filmed in a different location with just the door/wall for set piece. Camera stays fixed in this position as Emma appears behind the interloper with her shotgun. Emma dressed similar to her season one introduction, at least from chest up to conceal actress pregnancy.

INTERLOPER  
(sounds familiar)  
Rittenhouse sends their regards.

EMMA  
I don’t remember you.

INTERLOPER  
I had my own mission. 

The interloper tilts their head up and it’s revealed to be Jessica.

EMMA  
(still holding gun on Jess)  
Well, it’s about damn time  
someone came and got me.

JESSICA  
Yeah, about that. It took us a while  
to build our own time machine from  
plans we stole from Mason.

EMMA  
What happened to Mason’s  
time machine?

JESSICA  
Government has it. Along with  
the Council of Elders. All locked up  
in prison. Rittenhouse has  
been... dismantled.

EMMA  
Has it now?

Emma is surprised to hear this, but perhaps not that surprised. She is thinking, calculating.

JESSICA  
There are still those of  
us who are loyal to the cause.  
We're trying to rebuild, but  
we need a leader.

Emma judges Jessica and the situation for a moment, then lowers her gun. A Cheshire grin works it way onto Emma’s face.

EMMA  
You’ve come to  
the right gal. 

Well, shit. This can’t be good…

END SCENE

END TAG

END PART 2

END CREDITS

END TIMELESS MOVIE REDUX


End file.
